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In all the critical hype around HBO's Girls (2012–), remarks on its intense physicality have been foremost — centering on Lena Dunham's blunt presentation of her ‘imperfect’ body in situations from sex to exercise to bathing to sleep. This article will consider the kinaesthetic affect of this, and other posing and performing bodies in Girls. Arguing that the choreographed body is central to the pleasures and accomplishments of the series as television, I suggest that its impact can be interpreted through the medium and art of dance.

French writer-filmmaker Catherine Breillat and American writer-filmmaker-television series creator Lena Dunham share a devotion to questioning sexual norms and norms of representation, which converge at the point of embodied female performance of sex/uality. Exploring and affirming that which is typically deemed abject or shameful, especially for women, Breillat and Dunham reveal and revise heteropatriarchal uses of female nudity and sexuality, both in and out of pornography, to conceal and deny women's humanity. In so doing, these \"provocauteurs\" stretch the definitional and representational boundaries of what we consider \"feminist,\" \"queer,\" and \"porn.\" Through examination of Breillat's films Une vraie jeune fille / A Real Young Girl (1976, released 2000), Romance (2000), À ma soeur / Fat Girl (2001), Sex Is Comedy (2002), and Anatomie de l'enfer / Anatomy of Hell (2004) and Dunham's early short films, breakout feature Tiny Furniture (2010), and the first four seasons of her HBO series Girls (2012-), I aim to reveal how their mutual reenvisioning of sex/uality onscreen is generative of a politicized, hybridized representational and performative mode I term \"queer feminist art porn.\"

The Local Midwest Sex Icon Manifesto, a detailed outline on the becoming of a Local Midwest Sex Icon. Everything it takes to be young, sexy, fun, and midwestern. The Meat, an examination of figurative painting and the historic association of such, sexual violence in contemporary culture, feminism, and subversion of the gaze through text-based painting. Using SCUM Manifesto, Glitch Feminism, The Xenofeminist Manifesto and Visual Pleasure and Narrative Cinema to center on the implications of the male gaze and what it is like to manipulate it.

Hate the most recent season of a television show? Create a viral petition! Better yet, find an old tweet of a cast member to publicly shame them. These are examples of audience participation and expectations when it comes to television. Audiences react to several types of fiction, but this article mostly focuses on the impacts of television shows and audience reception. Analyzing audience and critical reception of certain TV shows may reveal motivations for subsequent creative decisions by the creators. On shows like Roseanne, audience reception has influenced decisions concerning creative control. Audience demands help sway the market and have opened up diversity initiatives in speculative media. The theoretical base for this article is formed from reception theoryand primary research of Twitter posts. To further explore the phenomenon of audience sway over artistic ownership, two television shows, Girlsand The 100, will be examined in context with audience and critical reception, cancelculture, and diversity initiatives across media.

THE WHITE HOUSE WASHINGTON From the desk of President-elect Donald Trump I am aware that my victory in the Presidential election was a result of the tireless work of thousands of Americans, and that is why I want to write to you to explain how thankful I am for your...