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Self proclaimed feminist killjoy Rebecca Cohen is a cartoonist based in Berkeley, California.
Here’s what she has to say about her role as an artist taken from her Patreon page.
She says:
That hero is definitely not me.
I just draw funny pictures and like to share my opinions. I’m Rebecca, also known as @gynostar.”
Enjoy one of her comics below.
This article originally appeared on 10.19.16
There’s not a woman alive who hasn’t suffered through an unwanted come-on from a creep. Some women are so afraid of these encounters they feel they can’t be as nice to men as they’d like, for fear their friendliness will be mistaken for flirtation.
One woman’s encounter with a creepy come-on has received over 110,000 likes on Twitter because of her flawless response.
Twitter user @LovableAndKind recently shared screenshots from a text exchange between her sister and a Jiffy Lube employee who found her phone number and sent her an unsolicited text.
The woman received a text from an unfamiliar number that read: “You are gorgeous.” When she asked who it was he responded, “Your favorite oil change guy.”
The woman could have responded with anger or ignored the creep and blocked him, but instead she decided to create a teachable moment.
“While I know you were wanting to give me a compliment, it was completely unnecessary and unsolicited,” she replied. “I am a customer, you are a service provider, and there should be no communication outside of that unless I, the customer, express interest.”
She then explained why his text was so violating.
“It is a violation of my privacy for you to contact me from your personal phone with information that you got without my permission,” she continued.
“And now I know that you are the type of person to go back in someone’s file to find their personal information, what is to keep you from going back and getting my address? There are men who stalk, rape and murder women this way.”
She then wrote that she could call Jiffy Lube human resources to report his actions, but she’d rather he learned from the incident.
“Sorry about that yes ma’am,” he responded.
Then she hit him back with one final diss.
“Oh, and you didn’t tell me what the tire pressure was on the rear passenger tire like I asked, so you’re definitely not even in my top five favorite oil change guys,” she wrote.
Here’s the entire exchange.
This article originally appeared on 08.09.19
We’ve debated about how often to shower, what time of day to shower, which direction to stand in the shower and whether or not shower snacks are appropriate.
But today, the hot topic of shower conversation is this: is using a washcloth the superior way to get clean, or just completely gross? You better believe people have strong opinions.
Though of course people have had this debate before, it recently went mainstream again thanks to a viral soundbite from “Causing a Scene with Sarah and Natalie.” Though hosts Sara Gretzky and Natalie Buck typically discuss pop culture topics, personal hygiene got thrown into the mix when Gretzky asked Buck if she was for or against washcloths.
“Do you use a washcloth?” Gretzky asked. Buck replied with a passionately whispered “no,” to which Gretzky agreed, “Me either… That is disgusting.”
Buck went on to joke that using a washcloth to clean her body was a “UTI waiting to happen,” before Gretzky informed her that they were likely “in the minority” with this opinion.
She then asked her co host the all important question “what are you washing your butt with?” Unapologetically, Buck answered, “My hands” and declared she’d “burn” her washcloth after using it.
From there, the comments section was all a flutter. Many could not understand why Gretzky and Buck were pro-hands and anti-washcloth.
@causingascenepodcast1 Do you use a wash cloth? #causingascene #podcast #shower ♬ original sound – Causing A Scene
“Hands? That’s like using your finger to brush your teeth,” one person wrote.
Another retorted, “NOT using a washcloth is a UTI waiting to happen.”
But, as adamant as viewers seemed to be that washcloths are superior to hands, experts seem to think differently.
Both washcloths and loofahs are breeding grounds for bacteria since they are likely to never fully dry out in between washings, nor is someone likely to sterilize them often enough in between showers. If you are this diligent, kudos to you.
Of course, washcloths do beat out loofahs since you can more easily throw them into the washing machine after each use, but simply using your own hands (once they are washed, that is) will not only get the dirt off, but do it in a way that’s gentle for sensitive skin. So…sorry washcloth folks, but hands are technically the superior hygiene tool.
But what about exfoliation? you might ask. There are ways to get a good scrubbing without a washcloth, including cleansers with chemical exfoliants like salicylic or glycolic acid and dry brushing. Exfoliating mitts, which obviously still need to be dried and cleaned in between washes, are also a good option because they have a low carbon footprint,” according to Dr. Elizabeth Trattner in an interview with Oprah Daily.
The overall verdict seems to be that washcloths aren’t so detrimental to skin health that you should stop using one immediately. So if you’ve grown attached to your shower accoutrement, just be sure to dry it out, wash it regularly and maybe avoid using it for your face or private parts.
And still, even if expert opinion doesn’t change anyone’s mind, it’s funny to see the hills people are willing to die on when it comes to their shower routine.
There remains some mystery around what life was like in the 1800s, especially for teens. Most people alive today were not around in the Victorian era when the technologies now deemed old-fashioned were a novelty. In this rediscovered 1970s clip from the BBC, two elderly women reminisce about what it was like being teenagers during a time when the horse and buggy was still the fastest way to get around.
While cars were just around the corner from being the common mode of transportation toward the end of the 19th century, it’s pretty wild to imagine what these women experienced. Frances “Effy” Jones explained how, at age 17, she was encouraged by her brother to check out this new machine in a storefront window. Turns out that machine was a typewriter and, after being trained on how to use it, Jones would sit in the store window typing while people outside gathered to watch. Before long, classes began popping up for women to learn how to use a typewriter, starting a new movement for women of that era.
The second woman, Berta Ruck, told the BBC that she would get into a bit of trouble at boarding school for drawing instead of completing school work. This talent took Ruck to art school in London where she rode buses around town, attempting to avoid mud getting on her long skirt. But the woman explained that it never worked and she would spend hours brushing the mud from her skirt before wearing it out again. I’m sure you’re thinking, buses? They weren’t the buses we would see nowadays. These were double-decker horse-pulled carriages.
I know, that’s hard to imagine. That’s why you should check out the video below:
This article originally appeared on 08.29.22
On Saturday (June 1), Megan Thee Stallion’s Hot Girl Summer Tour rolled into Atlanta, where she reunited with local hot girl Latto. The “Budget” collaborators used the opportunity to debut a remix of Latto’s spring single, “Sunday Service,” leaving fans on social media clamoring for an official release.
Megan brings out BIG LATTO for Atlanta show! pic.twitter.com/A7YjQoUyUP
— The King of Reads (@TheKingofReads) June 3, 2024
Latto debuts the remix to “Sunday Service,” which features Megan, at Atlanta’s #hotgirlsummertour stop pic.twitter.com/4VJlxvyKb2
— DeAsia Paige (@deasia_paige) June 3, 2024
It should be noted that another high-profile remix track involving Megan Thee Stallion was also debuted at a live show shortly before its release. Megan & GloRilla brought out Cardi B to perform the “Wanna Be” remix ten days before its official release during their show in New York City. They later teased the track on social media before dropping it the day before their Atlanta show.
Megan also announced the impending release of her third studio album, Megan, on June 28 — which would also be a convenient time to release the “Sunday Service” remix, capitalizing on the release day buzz, especially if the song actually appears on the album. If not, a release anytime in the next three weeks would make great promotion for the album, as it’d increase Meg’s visibility without having to release a single and risk spoiling the surprise.
After years of killing it as an actor, Dev Patel got to kill it — and kill some bad guys — as a director.
Monkey Man is the Oscar nominee’s directorial debut. And what a debut! The action movie stars Patel as an unnamed man living in India who wears a gorilla mask in underground fights, befriends a dog, and gets revenge on the corrupt figures who killed his mom. There’s even a shirtless training montage in a hijra community. Soon you’ll be able to enjoy all that on streaming.
Monkey Man makes its streaming debut on Peacock on June 14.
Here’s the official synopsis:
Inspired by the legend of Hanuman, an icon embodying strength and courage, Monkey Man stars Patel as Kid, an anonymous young man who ekes out a meager living in an underground fight club where, night after night, wearing a gorilla mask, he is beaten bloody by more popular fighters for cash. After years of suppressed rage, Kid discovers a way to infiltrate the enclave of the city’s sinister elite. As his childhood trauma boils over, his scarred hands unleash an explosive campaign of retribution to settle the score with the men who took everything from him.
You can watch the trailer for Monkey Man below.
Soccer Mommy is scheduled to perform at Project Pabst 2024 in late July, but the artist born Sophia Allison is squeezing in a few headlining dates beforehand. The Lost Shows started at Stone Circle Theatre in New York City on May 31 and will continue this week in Los Angeles, California on June 4 and Chicago, Illinois on June 7 before wrapping in Nashville, Tennessee on June 9.
“Been busy working on some new music,” Soccer Mommy captioned, in part, an Instagram announcement on May 7. “[I] can’t say too much yet, but I really wanted to focus on the songwriting and keep the production more organic. I want to preview some of it in a more intimate way, so I’m excited to announce The Lost Shows!”
Below is Soccer Mommy’s The Lost Shows setlist, according to fans’ who chronicled it on setlist.fm from Soccer Mommy’s opening night.
1. “Circle The Drain”
2. “Bloodstream”
3. “Skin”
4. “Evergreen” (Live Debut)
5. “Wildflowers”
6. “M” (Live Debut)
7. “Lost” (Live Debut)
8. “Night Swimming”
9. “Salt In Wound” (Live Debut)
10. “Driver” (Live Debut)
11. “Royal Screw Up”
12. “Your Dog”
13. “3 AM At A Party”
14. “Allison”
15. “Still Clean”
Encore:
16. “I’m On Fire” (Bruce Springsteen Cover)
06/04 — Los Angeles, CA @ The Masonic Lodge
06/07 — Chicago, IL @ Schubas
06/09 — Nashville, TN @ The Blue Room
Mike Flanagan recently wrapped up his time with Netflix to move onto other projects including an Amazon TV deal. This closes the door on an incredible streaming TV run (including The Haunting Of Hill House, Midnight Mass, and The Fall Of The House Of Usher) and — as was the hope for fans of Flanagan’s ongoing Stephen King adaptation list — opened the door for a long-desired and worthy TV series adaptation of The Dark Tower.
Or not? Flanagan has already unveiled his vision for that series’ opening shot, and horror audiences know that he consistently delivers at or above expectations. Also, there is no shortage of Reddit threads in which fans of both King and Flanagan hope that The Dark Tower will happen sooner rather than later, but it sure does not look like the Gerald’s Game and Doctor Sleep director will have the free time to hop on more King in the near future (although The Life Of Chuck has finished filming and should soon reveal a release date).
Yup, The Dark Tower appears to be on the shelf again because Flanagan has signed on to revamp The Exorcist franchise for Blumhouse. Let’s talk about what we can expect from this collaboration:
Expect something different than what you’ve seen before, not only where The Exorcist is concerned by also on a Flanagan-trademark note. Obviously, more than 50 years after the release of the 1973 classic starring Linda Blair, Flanagan wants to add to the franchise rather than be a rehash. That adds up to a new story instead of redoing events that have unfolded already in the six existing films (including David Gordon Green’s 2023 effort, The Exorcist: Believer) or the short-lived TV series.
We can also rest assured — and The Fall Of The House Of Usher is the most recent example of this success — that Flanagan is a master at reimagining source material in ways that we never knew that we needed. Additionally, some of the plans revealed by Flanagan at this past weekend’s ATX Festival give hints of how this will be different from his usual vibe in a key way.
As relayed by Indiewire, do not expect heavy, Flanagan-esque monologuing or an easter-egg-filled approach in his The Exorcist reimagining:
“Part of what I said to Blumhouse and Universal when we were discussing this was I don’t think this is a monologue project. The ritual itself is something of a monologue, but we’ve seen that. We’ve seen somebody shout prayers at somebody. That was scary 50 years ago, I don’t see that working here.
“Younger audiences drive horror. That’s a fact. A lot of the audiences who will come see this likely haven’t seen the original, and aren’t going to be impressed by any allusions to that. So this isn’t really where you want to do the long monologues about religion.”
What else? Flanagan reminded the audience that he got his sermon-heavy show “out of my system” already with Midnight Mass, and for The Exorcist, “This should just be really scary.”
A few weeks ago, Flanagan also told Variety that his “radical new take” would not take any form of a sequel, and he’s “terrified” because he loves this franchise but will leap headfirst into this project:
“‘The Exorcist’ is one of the reasons I became a filmmaker, and it is an honor to have the chance to try something fresh, bold, and terrifying within its universe. Reuniting with my friends at Blumhouse, with whom I’ve made some of my favorite pieces of work, only makes this more exciting.”
Jason Blum feels likewise, and he declared, “Mike’s voice and vision are indispensable for horror fans and we are excited to welcome him back to Blumhouse. I immediately responded to Mike’s new take on the world of ‘The Exorcist’ and can’t wait for audiences to experience it.”
Zero concrete casting news has surfaced yet, but Flanagan has worked with an enormous rotation of frequent collaborators. So, there’s gotta be a role for Carla Gugino in this overhauled franchise. It’s also likely that we could see Kate Siegel, Mark Harmon, Annabeth Gish, Rahul Kohli, Samantha Sloyan, and/or Katie Parker. Oooh, let’s have some Willa Fitzgerald in this franchise, please? And do not sleep on how well Hamish Linklater can do the priest thing.
Blumhouse hasn’t forecast a release date yet, but there appears to be no reason that Flanagan — who seems to deliver something spooky every damn Halloween season — couldn’t have a film ready by fall 2025.
No dice yet! But last year, 1973’s The Exorcist received a 4K release, preceded by the below trailer.
This is it for Power Book II: Ghost. After nearly four years on air, the spin-off series is set to enter its fourth and final season this Friday, June 7. The upcoming season will be split into two halves with part one beginning this Friday and part two airing later this year on September 6, which is the fourth anniversary of the Power Book II: Ghost series premiere. Season four promises a lot of action, drama, unexpected twists, and so much more. So, let’s see how many episodes of that you’ll receive altogether in the upcoming season.
Season four of Power Book II: Ghost will have a total of ten episodes. This is the same amount the series in each of its first three seasons. Some fans hoped that season four would deliver 20 episodes because the season was split into two parts months. Unfortunately, that is not the case as the series will stick to the usual 10 episodes for its final season.
Part 1:
Part 2:
You can check out the Power Book II: Ghost season four trailer and stay tuned for more on the upcoming season.
Power Book II: Ghost’ season four, part one premieres on June 7. Part two debuts on September 6.
The 2022-23 season was a gigantic disappointment for the Dallas Mavericks. A year after reaching the Western Conference Finals, the franchise took a huge step back due to their own mistakes in judgement. The Mavs had scrapped their initial plan for how to build around Luka Doncic, initially pairing him with Kristaps Porzingis in what became an ill-fated tandem, and misjudged Jalen Brunson’s ascent, leaving them at a talent deficit going into the year after he bolted for New York.
Despite Doncic’s brilliance, the Mavs sputtered, and tried a Hail Mary at the trade deadline to bring in Kyrie Irving to provide Doncic with some needed offensive support. The two found success on that end, but the Dallas defense was a disaster, and they eventually tanked out of the Play-In race to increase the likelihood they held onto their first-round draft pick, which was top-10 protected in 2023. That was, at the time, a controversial move, but it paid off as they held steady at No. 10, giving them an opportunity to add young talent to a roster that didn’t have a lot of avenues for offseason upgrades.
It was critical for the Mavs to nail the summer of 2023, needing to right the wrongs of the summers prior and figure out how to build out a balanced roster around their two backcourt stars. They started with a Draft night trade that saw them drop back to 12th so they could dump Davis Bertans’ salary, still landing the player they had long been connected to in Duke center Dereck Lively II. Then, they added Richaun Holmes and the 24th pick, which turned into Olivier Maxence-Prosper, from the Kings by absorbing Holmes’ deal into the trade exception created by the Bertans deal.
They also had no choice but to give Irving a three-year max deal that was considered a bit risky given his recent history. From there, they tried to bolster their frontcourt defense by adding Grant Williams on a long-term deal as part of a sign-and-trade, hoping he could be a versatile wing defender and floor-spacer in a starting role, filling the void left by Dorian Finney-Smith after the Irving trade. They also brought in Derrick Jones Jr. on a minimum deal, adding the high-flyer in their continued quest to add some defensive-minded wings. Finally, they signed Seth Curry, bringing a familiar face back to Dallas in hopes he could regain his past form as a high-level three-point threat.
After spending years trying to figure out the formula to building a contender around Doncic, it seemed the Mavs finally had a vision. They felt they had the right secondary creator and shotmaker in Irving, and chose to build the rest of the surrounding roster out of defenders and play-finishers. It was a coherent plan, but required some further fine-tuning to get it right.
Not all of those offseason moves worked out. Lively emerged as an immediate impact player on both ends, giving Dallas some much-needed rim protection and a terrific lob threat for Doncic and Irving who didn’t need the ball otherwise. Jones Jr. quickly became their starting small forward, giving them some needed length on the perimeter and similarly embracing a role as a play-finisher while shooting a career-best 34.3 percent from behind the arc. The other three failed to pan out. Holmes was unable to regain his form and really crack the rotation, Curry likewise struggled to make a real impact, and Williams simply never fit in his new role in Dallas. As the deadline approached, the Mavs realized there was still work to do to make this team — which was at the time a bottom-10 defense in the league — a real contender.
The Mavs moved their three sputtering summer acquisitions in two trades that changed their trajectory as a team. Holmes got flipped to Washington along with a first round pick for Daniel Gafford, while they sent Williams, Curry, and another future first to Charlotte for PJ Washington. Gafford added another strong rim protector and lob finisher, meaning the Mavs are able to keep at least one elite shot blocker on the floor who is also a strong pick-and-roll partner for their guards at all times. Washington gave them the versatility defensively they were seeking by adding Williams, and seemed more comfortable in his role, even with spottier three-point shooting — of course, he caught fire in their series against the Thunder, which was crucial as Dallas won that series.
Potential was not the concern of this Mavs team, as they needed players that could impact winning now. However, when few teams want to be sellers at the deadline, you can’t often find players with strong track records in winning situations. The difficulty in adding players coming from aimless, struggling teams — like the Wizards and Hornets — is deciphering which deficiencies are the player’s and which are the product of their situation. Dallas provided a bit of a blueprint for how to do it with the acquisitions of Washington and Gafford, as they focused on finding players with strengths that would fit specific roles they had in mind.
There was undoubtedly risk involved in moving future first round picks for those two players, but they were calculated risks. The Mavs needed to build a contender sooner than later to satiate the desires of their young superstar, as the unforgiving clock we put on superstars was already ticking on the 25-year-old Doncic. The Mavs, as such, had to be willing to risk future assets to prove to Doncic they were moving in the right direction, particularly after some significant missteps in the past. They did just that and righted the wrongs of the past by having a plan for who they brought in that went beyond simply seeking out talent. By having a defined role waiting for them, they were able to immediately focus Washington and Gafford in ways they simply weren’t in their past homes. The same can be said for Jones Jr., who has long been a ball of potential, but was never given a role to fully thrive in that asked him to simply play to his strengths.
What Dallas did over the past calendar year, starting in June and continuing through the February deadline, has been an incredible job of crafting a plan with clear input from the coaching staff and executing on a team-building vision. Rather than trying to add more cooks to the kitchen, they recognized they had the two chefs they needed and worked to build a functioning team around them on both ends of the floor. The Mavs added players with a defensive mindset that would be able to execute Jason Kidd’s vision for what the defense should look like. They also realized that floor spacing isn’t just loading up behind the three-point line, using vertical spacing in the form of lob threats to further stretch the floor and take advantage of their lead star’s incredible gifts as a passer.
It’s not that every move Nico Harrison and his staff have made has been perfect, but there has been a humility with which they’ve operated that you don’t often see. Ego is the worst attribute of an executive, as it leads to being defiant in the face of evidence something isn’t working. Harrison, to his credit, recognized opportunities when they presented themselves and moved quickly to fix errant decisions, most notably the Williams addition. They were able to do that in part because they didn’t take a singular swing on a boom-or-bust third star once they locked in Irving — who deserves credit for embracing his place on this team and making that extension look like a no-brainer in hindsight when it was anything but. By working more on the margins, they always had outs in the form of tradable contracts that could bring back players they deemed misused or underutilized by other teams — it’s always easier to move an underperforming player who makes $16 million, rather than $32 million.
Thanks to a year of wheeling and dealing, the Mavs find themselves in the NBA Finals with a team that looks every bit a threat to hoist the Larry O’Brien trophy. The credit for this run goes throughout the organization. The front office has steadily figured out the right build for this roster and pulled the necessary strings to put a strong two-way team together. Jason Kidd has pushed the right buttons, getting players to buy-in on both ends of the floor and crafting a system on both ends of the floor that plays to the strengths of not only his stars but role players as well. And most importantly, the players have embraced their roles up and down the roster, recognizing the opportunity to be a part of something special and being willing to put the team’s success first.