#anti natalie haynes

[deathlessathanasia]

"It is Hephaestus, incidentally, who comes to Hera's rescue, or at least tries to. But in the version of the story told by Pseudo-Apollodorus, he is cast down to earth by Zeus. This story is also referenced in the Iliad, where Hephaestus tells his mother that they cannot hope to cross Zeus and remain unhurt in the process, reminding her of the time he was hurled from the heavens to Lemnos, an island in the northern Aegean Sea. This, then, is a different telling of a god throwing Hephaestus from Olympus. Earlier we saw that Hera hurled him out in a fit of pique, but here Zeus is the cruel one, punishing his wife's son for trying to defend her. Again we see that whenever anything unpleasant happens, Hera can always take the blame. The more time you spend examining these stories of Hera's bad behaviour, the more reasons you tend to be able to find for why she might be behaving unreasonably, or why someone else is the guilty party but blaming Hera is so convenient. It is a misogynistic narrative as old as time itself and never out of fashion: the real problem in any bad family dynamic isn't the irascible, lecherous patriarch, but his patience-sapped wife. So it makes perfect sense to say that it's Hera who sends the snakes to kill baby Heracles, because that's exactly the kind of thing she would do. Sure, sometimes it's Amphitryon who tries to kill the baby. But a wicked stepfather is a much potent archetype than the cruel stepmother, so the version which prevails is that Hera is the villain" - Natalie Haynes, Divine Might: Goddesses in Greek Myth.

Come on… I don't think anybody would disagree that the prejudices of the ancient Greeks influenced the characterization of their mythological figures. But it does feel disingenious to suggest that, well, there are alternative versions where Hera is not the one who does a particular thing, so that means it is unfair to blame her for doing those things in the version where she does, infact, do them.

Yes, Zeus is the one who throws Hephaistos from Olympos in one version. Doesn't change the fact that the version where Hera does it also exists and it seems just as old (they are both mentioned in the Iliad at least). It is not even necessarily the case that the version where Hera does it was more common among the ancient Greeks. Both variants are equally well attested and, as previously mentioned, can even appear in the same source.

Yes, Amphitryon is the one who sends the snakes according to Pherekydes (though it is not said that he wanted to kill the child, only to learn which of the twins was his). Doesn't change the fact that the version where Hera does it appears in far more sources, or that it is more characteristic of her than of him: Amphitryon is a loving father to Herakles (even if there are accounts where he is far from enthusiastic about his wife being impregnated by someone else), whereas Hera persecutes him from the time he is still in his mother's womb and his entire life afterwards.

And, Ms. Haynes, I vividly remember your book Stone Blind, where you made Hera responsible for Metis being cannibalized by Zeus, out of spite towards her for having been raped and impregnated by him. What was that you were saying about misogynistic narratives and Hera being conveniently blamed and being made the villain? Hypocritical much? No sources exist for that idea, so you purposefully invented it for your "feminist" retelling. Interesting isn't it?

[peraltasass]

Read in 2023

✩✩✩✩✩ - ★★★★★

Fiction:

Stone Blind by Natalie Haynes: ★★✩✩✩ (HUGE disappointment)

Babel by R. F. Kuang: ★★★★★ (HUGE recommend)

The Hate U Give by Angie Thomas: ★★★★✩  

Cinderella is Dead by Kalynn Bayron: ★★★★✩

Pet by Akwae Emenzi: ★★★★★

The Call-Out by Cat Fitzpatrick: ★★★★✩

The Deep by Rivers Solomon: ★★★★★ (big recommend!)

Ace of Spades by Faridah Àbíké-Íyímídé: ★★★★★

Nevada by Imogen Binnie: ★★★★✩

The Silence of the Girls by Pat Barker (re-read): ★★★★✩

Das Känguru Manifest by Marc-Uwe Kling: ★★★★✩  

The Women of Troy by Pat Barker: ★★★★✩

Die Känguru Offenbarung by Marc-Uwe Kling: ★★★★✩

Die Känguru Apokryphen by Marc-Uwe Kling: ★★★★✩

Fake Dates and Mooncakes by Sher Lee: ★★★★✩  

Bitter by Akwaeke Emezi: ★★★★✩  

Peter Darling by Austin Chant: ★★★★✩  

The Adventures of Amina Al-Sirafi by Shannon Chakraborty: ★★★★½

Homegoing by Yaa Gyasi: ★★★★★

Where We Go From Here by Lucas Rocha: ★★★½✩

Dschinns by Fatma Ayedemir: ★★★★★

Blutbuch by Kim De L’Horizon: ★★★★✩  

Yellowface by R. F. Kuang: ★★½✩✩

The Mermaid, the Witch, and the Sea by Maggie Tokuda-Hall: ★★★★✩

Gwen and Art are Not in Love by Lex Croucher: ★★★★✩

The Red Scholar’s Wake by Aliette de Bodard: ★★★½✩

Der Duft der Sterne by Simon Klemp: (can’t fairly rate, a friend of mine is the author)

The Binding by Bridget Colling: ★★★★½

In Deeper Waters by F. T. Lukens: ★★★★½

Non-fiction:

Von hier aus gesehen by Celestine Hassenfratz, Anna Luise Rother, & Ulla Scharfenberg: ★★★★½

Behindert und Stolz by Luisa L’Audace: ★★★★½   

Ich, ein Kind der kleinen Mehrheit by Gianni Jovanovic mit Oyindamola Alashe: ★★★★✩  

Radikale Selbstfürsorge jetzt! by Svenja Gräfen: ★★★✩✩  

Eure Heimat ist unser Albtraum (Your Homeland is Our Nightmare) by Fatma Aydemir and Hengameh Yaghoobifarah: ★★★★★  

Bad Gays. A Homosexual History by Huw Lemmey and Ben Miller:

Unlearn Patriarchy by Lisa Jaspers, Naomi Ryland and Silvie Horch (eds.): ★★★★✩

Jews Don’t Count by David Baddiel: ★★★★✩

Sprache und Sein by Kübra Gümüşay: ★★★✩✩

They Called Us Enemy by George Takei: ★★★★✩

Lieber Jonas oder Der Wunsch nach Selbstbestimmung by Linus Giese: ★★★★✩

Gender. A Graphic Guide by Meg-John Barker & Julia Scheele: ★★½✩✩

Hood Feminism by Mikkie Kendall: ★★★★★  

Let’s Talk About Sex, Habibi by Mohamed Amjahid: ★★★★★  

Wie kann ich was bewegen? by Raúl Krauthausen & Benjamin Schwarz: (stopped bc it made me unhappy)

Caliban and the Witch by (not finished yet)

NichtMutterSein by Nadine Pungs: ★★★½✩

Desintegriert euch! by Max Czollek: ★★★★✩

Pageboy by Elliot Page: ★★★★★  

Hass by Şeyda Kurt: ★★★★½

Die stille Gewalt by Asha Hedayati: ★★★★★  

Die letzten Tage des Patriarchats by Margarete Stochowski: ★★★★½

Identitätskrise by Alice Hasters: ★★★½✩

Anti-Girlboss by Nadia Shehadeh: ★★★½✩

Graphic novels and webcomics:

Pimo & Rex by Thomas Wellmann: ★★★★✩

Pimo & Rex: Die interdimensionale Hochzeit by Thomas Wellmann: ★★★★✩ 

Freibad by Paulina Stulin & Doris Dörrie: ★★✩✩✩    

The Tea Dragon Festival by K. O’Neill: ★★★★★  

Medusa & Perseus by André Breinbauer: ★★✩✩✩/★★★✩✩

[movieswithkevin27]

Battle of the Sexes

The latest film from husband-wife directing duo Jonathan Dayton and Valerie Faris, Battle of the Sexes, is a strong if unextraordinary work. Telling the story of the famous tennis match between Billie Jean King (Emma Stone) and Bobby Riggs (Steve Carell), Battle of the Sexes is a film that is unexpected in how little it actually focuses on tennis. Saving the match for the climax, showing clips of other matches beforehand, and detailing the creation of the WTA, Dayton and Faris use the sport as a mere jumping off point into relationship drama and personal issues faced by both King and Riggs. For the former, this is the saving grace of the film, turning a cliche inspirational sports dramedy into a Carol remake. For the latter, the film’s focus on Riggs is always rather basic and unengaging, existing solely to provide a comedic touch to the film but never really creating great pathos to justify his happy ending. In the end, Battle of the Sexes is a film that unfortunately must adhere to inspirational sports movie cliches along the way that ultimately wind up holding back the final product, but when this is just an examination of Billie Jean’s hidden life as a lesbian and her love of Marilyn (Andrea Riseborough), Battle of the Sexes is aces.

This lesbian romance angle of Battle of the Sexes was entirely unexpected, as I was entirely expecting it to just be a sports dramedy split between focusing on King and Riggs in the lead up to their match. However, the film is smart for probing this side to King and doing it in such a tender fashion. As she fights for women’s equality in the face of sexism within the game she loves - namely Jack Kramer (Bill Pullman) - she is forced to bottle up her feelings for Marilyn and for women in general. Helping to create the WTA and needing to stay straight in order to keep the sponsors for the tour, King is boxed in a corner and forced to live against her nature. Husband Larry (Austin Stowell) seems to recognize this, providing a kind representation of a man in the film as he dotes on Billie Jean and represses his sad realization she is cheating on him by pouring himself further into helping her advance. Of course, this does not show great for Billie Jean given her willingness to cheat on such a kind-hearted person instead of being straight with him - especially since he knew she was a lesbian anyways - but it does speak highly of Larry. Through this element, Battle of the Sexes shows it is not just some anti-man film, as many sexist men would likely assume. Rather, it is a film that simply explores the fight undertaken by Billie Jean with much of this film being about Bobby Riggs’ show of chauvinism and the pushback Billie Jean received from men.

While her crusade against sexism is successful for the most part, Billie Jean’s one side of her life that she is still unable to fulfill is her aforementioned homosexuality. When focusing on her love of Marilyn, Battle of the Sexes is an excellent film with both Stone and Riseborough speaking softly and engaging in light flirtation with one another from the first time they meet. There is a very endearing nature to their romance, communicating the authenticity of their feelings for one another as Stone and Riseborough play off one another perfectly as lovers. These scenes really create a warmth for the film akin to Todd Haynes’ Carol as the film plays of the similarly taboo nature of the relationship in those times to create an undercurrent of tension. Billie Jean’s sexual repression in the public spotlight compared to her sexual awakening in her private life serves as a great way to demonstrate both the strength of Stone’s acting in balancing the two appeals but also of the film’s strengths in developing King as a character. She feels real (I know she is a real person). She puts on this face for the public that is different than the one she has in private. She is tight, professional, and focused on women’s issues in public. With Marilyn, she is able to let loose and be herself. She is able to indulge in this “forbidden pleasure” and truly express who she is as a person through her sultry talk with Marilyn. This authentic and heartwarming touch to the film is one that allows its triumphant finale to be not quite as triumphant as many inspirational sports film. As everybody celebrates her success in bringing equality to women - which is certainly a reach, as the issues in the film still exist today - Billie Jean runs to the locker room to cry. As designer Ted Tinling (Alan Cumming) hugs her and reassures her that their time will come eventually, it becomes even clearer that the mental toll of balancing her desire to go for the touchdown - securing gay rights and women’s equality - and her knowledge that she should just take the field goal - pushing gay rights to the backburner in favor of women’s rights - is one that has left her feeling exhausted and unhappy. It has robbed this moment from her that should be one of celebration and instead serves as a reminder of just how far she still has to go to be equal. It has taken an inspirational moment and turned it into a bittersweet one, making the ending almost a tragic one that greatly underscores the inner machinations of Billie Jean as a character in the film as a person in real life.

While the romance between Billie Jean and Marilyn is incredibly tender, sweet, and filled with warmth, the film also greatly benefits from both the visuals and the acting. For the former, cinematographer Linus Sandgren does a great job capturing a period aesthetic in the film’s visuals. Creating a vintage look to the film that has this tennis-inspired goldish hue while balancing the blues or reds of the clothing and the brown of interior shots, Battle of the Sexes manages to be a very subtly pretty looking film where Sundgren demonstrates his skill as a cinematographer, building on his great work in La La Land. The acting is also top of the line with Stone and Riseborough, as previously mentioned, working off of one another beautifully in crafting a beautiful romance while Sundgren’s visuals and Dayton/Faris’ direction further brings charm and warmth to that romance. As Riggs, Steve Carell is boisterous and over-the-top, but undeniably hysterical. The comedy of this film is contributed mainly by Carell who delivers the absurd lines given to Riggs with such wit, sincerity, and charm that it makes the audience almost overlook just how horribly sexist his false character he puts on for this match can become. He is a caricature of a chauvinist, but one brought to life by Carell who makes him almost likable. Beyond this group, Sarah Silverman, Alan Cumming, and Natalie Morales, are all strong in supporting roles, as is Austin Stowell as Billie Jean’s husband. This is a film that may not be garnering much Awards attention, but none of that stops Battle of the Sexes from being a film that possesses one of the best ensemble casts of the year.

Thematically, as should be obvious, sexism plays a major role in the film and what is often nice about how Battle of the Sexes approaches the issue is in showing both the hypocrisy and subtle nature of sexism. It is shown in big moments such as the gender pay gap, but also in the comments made by men. At every turn, Billie Jean is called either a “little lady” or her looks are somehow referenced. The same occurs with every other woman, all of whom are subtly demeaned and objectified in ways that are not simply, “I hate women,” but rather, “They exist solely to be looked at by men.” It is a subtle difference, but one that helps the film’s approach to sexism largely ring true. As such, it is disappointing to see the character of Jack Kramer and Billie Jean’s speech to him about women stand in complete contrast to this side of the film. Instead of scaled back and reserved for just the small little digs that speak to the normalization of sexism in society, Kramer’s sexism is in-your-face, entirely demeaning, and repulsive. Billie Jean’s speech is earned, but just does not work within the context of the film. It is preachy, on-the-nose, and forced, as much as Kramer’s caricature character is simply too much. Clearly intended to represent the upfront sexism of the time and give the film an antagonist - as Bobby Riggs is more a sympathetic figure in the eyes of Dayton and Faris - Kramer just never rings true as a character. Whether it is accurate to who he was or not, he feels entirely out-of-place and more akin to a stock/composite character than a true individual.

This issue with character development is prevalent throughout the film as, aside from Billie Jean, nobody gets any development. Marilyn is just her lover. Larry is just her husband. Gladys (Sarah Silverman) just runs the tour. Ted is just gay. Rosie and the other tennis players are just her competition. Jack is just sexist. Across-the-board, the film delivers consistently paper-thin characters that would be acceptable in a biopic, but Battle of the Sexes is not a biopic. Instead, it is an attempt to recreation the events leading to the rise of women’s tennis in America and the tennis match between King and Riggs, as such it should rely heavily on peripheral characters. However, as the film dives into the romance between King and Marilyn, Battle of the Sexes winds up losing all of the characters in the process and even neglects to develop Marilyn beyond being a stock “girlfriend” character for Billie Jean. Perhaps most egregious in this area of the film is the lack of development of Bobby beyond goofball gambling addict. It is abundantly clear he does not hate women as his media persona claims - he is even supported financially by wife Priscilla (Elisabeth Shue) - and is an absolutely decent man, but the film leaves him as largely just a poor husband who constantly betrays his wife’s trust by gambling against her wishes for him to stop. At gamblers anonymous meetings, he encourages teaching gambling and he even plays cards with his psychiatrist. From the limited bits shown, he is an immature man who delivers laughs but not stability. Never going beyond this side and his caricature-esque approach to chauvinism, Battle of the Sexes leaves the character of Bobby Riggs as rather one-dimensional. He is sympathetic due to Carell, not necessarily the writing. As a result, scenes where he is left by his wife and fights to get her back further feel like excess, never gelling with the focus on King’s life and instead feeling like rather half-hearted attempts to build sympathy for the character. As such, his redemption at the end with his wife Priscillia unexpectedly returning not only serves as a rather under-explained decision on her part (as everything shown justified her decision to leave), but also just distracts the personal drama and celebration experienced by King after the match.

Battle of the Sexes is a solid film that needed to be taken in a new direction. While Jonathan Dayton and Valerie Faris do well with what they have, Battle of the Sexes would be better served as a lesbian romance - which it so desperately wanted to become - between Billie Jean and Marilyn with the Battle of the Sexes tennis match serving as a background to her personal life. Instead, it is the climax here and tennis is the focus, thus forcing the film to focus on the one-note Bobby Riggs far too much and rob attention from King. Though Emma Stone and Steve Carell are both excellent, Battle of the Sexes is simply not the best version of itself that it could have become.

[veritaserumrpt]

i decided to compile a list of faces that should be considered banned in roleplays. i used a few different resources in order to help with this list that include helpersofindie, duskrph, and dear-indies as well as plenty of research! under the cut, you will find categories describing the reason why the face claim is banned. 

last updated: 5/15/2017

abuse

alex pettyfer

ashley frangipane ( halsey )

austin carlile

austin kerr

camila cabello

carter reynolds

chris brown

die antwoord

donna hylton

emile hirsch

emma roberts

ian watkins

jai brooks

james franco

jared leto

jason viohni

johnny depp

lena dunham

matt prokop

mark salling

marilyn manson

michael clifford

michael fassbender

nash grier

oli sykes

roman polanski

ronnie radke

sam pepper

sean penn

stephen collins

woody allen

abuse allegations

casey affleck

christian bale

cole sprouse

david jesus torres ( dahvie vanity )

evan peters

jake mcelfresh

jamie campbell bower

jason viohni

justin bieber

kalel cullen

matt prokrop

michael fassbender

nicola peltz

deceased

anton yelchin

brittany murphy

carrie fisher

christina grimmie

cory monteith

heath ledger

paul walker

ANYONE WHO IS DECEASED

doesn’t want to be roleplayed

alicia danielle medina

andrea russett

ashe maree

ashley osborn

baek sumin

bård ylvisåker

bertie gilbert

byung-ho park

cameron ugh

ciara bruce

dajana rads

david ghost sola

david henrie

devin sola

emerald gordon wulf

feryn suicide

hiroki narimiya

ian nelson

jarrod alonge

jayde pierce

jenn cino

justine skye

kalani hilliker

kristina pimenova

lara jade

lena muir

lisa ruocco

no yooho

mark eshleman

mary thomson ( supermaryface )

mckenna grace

mia hays

micahel kuza

morgan joyce

oh ki taek

olivia culpo

orion carolto

plum suicide

sarah urie

shin dong-ho

stephen gomez

sydney sierota

taylor nichole dean

thylane blondeau

trey defranco

twiggx

zoe kimball

underaged

amanda steele

aramis knight

auli’i cravalho

bailee madison

caleb mclaughlin

cameron boyce

camren bicondova

david masouz

finn wolfhard

gaten matarazzo

griffin gluck

jazz jennings

kiernan shipka

kristina pimenova

louis hynes

malina weissman

mia talerico

millie bobby brown

millie ramsey

natalie alyn lind

noah schnapp

quevenzhane wallis

rowan blanchard

sabrina carpenter

trey defranco

willow smith

ANY AND ALL CHILD FACE CLAIMS

supported/defended abusers

adrian brody

amy schumer

benedict cumberbatch — ableism, sexist

gael garcia bernal

harrison ford

laurie holden

meryl streep

mickey rourke

natalie portman

paul bettany

penelope cruz

scarlett johansson — calls dylan farrow “irresponsible” for coming forward with her story of molestation

taylor swift

tilda swinton — whitewashing, defends her actions

racist

azelia banks — homophobic

bella hadid

camila cabello

colton haynes — blackfaced

courtney love — murder conspiracy theory

dylan sprouse — islamphobic

gigi hadid — blackfaced

hailey baldwin

harry styles — sexist, blackfaced

heo chanmi

jennifer lawrence — ableism

kwon jiyon — cultural appropriation, ableism

liam payne — sexist

lily macapinlac 

louis tomlinson — sexist

machine gun kelly

mel gibson — anti-semitic comments, homophobic

taylor marie hill

tyle oakley — transphobic, believes in reverse racism

cultural appropriation

doug young-bae

emeraude toubia

kylie jenner

miley cyrus

selene gomez — uses slurs

vanessa hudgens

other reasons

bella thorne — racist accusations

chris colfer — ableism, fat shaming, sexist

daria sidorchuk — homophobic 

donald glover — rape jokes, sexist, racist, abelist

felix kjellberg ( pewdiepie ) — racist, anti-semitic comments, believes rape jokes are okay

floriana lima — whitewashing 

holland roden — defends colton hayes, rape jokes, supports blackface

iggy azalea — animal abuse accusation, racist and homophobic past that she has since apologized for

lauren emma cook ( felice fawn ) — animal abuse accusation only found on wiki page

lorenzo henrie — whitewashing

martin freeman — uses slurs

megan trainor — uses songs against body positive

michelle rodriguez — transphobic

rena lovelis — rape/pedophilia apologist

robert downey jr. — blackfaced, yellofaced, homophobic, defended mel gibson

theo rossi — whitewashing

tom hardy — whitewashing

uriah shelton — sexist

zayn malik — defends gigi hadid, used STD as an insult

[peraltasass]

Read in 2023

✩✩✩✩✩ - ★★★★★

Fiction:

Stone Blind by Natalie Haynes: ★★✩✩✩ (HUGE disappointment)

Babel by R. F. Kuang: ★★★★★ (HUGE recommend)

The Hate U Give by Angie Thomas: ★★★★✩  

Cinderella is Dead by Kalynn Bayron: ★★★★✩

Pet by Akwae Emenzi: ★★★★★

The Call-Out by Cat Fitzpatrick: ★★★★✩

The Deep by Rivers Solomon: ★★★★★ (big recommend!)

Ace of Spades by Faridah Àbíké-Íyímídé: ★★★★★

Nevada by Imogen Binnie: ★★★★✩

The Silence of the Girls by Pat Barker (re-read): ★★★★✩

Das Känguru Manifest by Marc-Uwe Kling: ★★★★✩  

The Women of Troy by Pat Barker: ★★★★✩

Die Känguru Offenbarung by Marc-Uwe Kling: ★★★★✩

Die Känguru Apokryphen by Marc-Uwe Kling: ★★★★✩

Fake Dates and Mooncakes by Sher Lee: ★★★★✩  

Bitter by Akwaeke Emezi: ★★★★✩  

Peter Darling by Austin Chant: ★★★★✩  

The Adventures of Amina Al-Sirafi by Shannon Chakraborty: ★★★★½

Homegoing by Yaa Gyasi: ★★★★★

Where We Go From Here by Lucas Rocha: ★★★½✩

Dschinns by Fatma Ayedemir: ★★★★★

Blutbuch by Kim De L’Horizon: ★★★★✩  

Yellowface by R. F. Kuang: ★★½✩✩

The Mermaid, the Witch, and the Sea by Maggie Tokuda-Hall: ★★★★✩

Gwen and Art are Not in Love by Lex Croucher: ★★★★✩

The Red Scholar’s Wake by Aliette de Bodard: ★★★½✩

Der Duft der Sterne by Simon Klemp: (can’t fairly rate, a friend of mine is the author)

The Binding by Bridget Colling: ★★★★½

In Deeper Waters by F. T. Lukens: ★★★★½

Non-fiction:

Von hier aus gesehen by Celestine Hassenfratz, Anna Luise Rother, & Ulla Scharfenberg: ★★★★½

Behindert und Stolz by Luisa L’Audace: ★★★★½   

Ich, ein Kind der kleinen Mehrheit by Gianni Jovanovic mit Oyindamola Alashe: ★★★★✩  

Radikale Selbstfürsorge jetzt! by Svenja Gräfen: ★★★✩✩  

Eure Heimat ist unser Albtraum (Your Homeland is Our Nightmare) by Fatma Aydemir and Hengameh Yaghoobifarah: ★★★★★  

Bad Gays. A Homosexual History by Huw Lemmey and Ben Miller:

Unlearn Patriarchy by Lisa Jaspers, Naomi Ryland and Silvie Horch (eds.): ★★★★✩

Jews Don’t Count by David Baddiel: ★★★★✩

Sprache und Sein by Kübra Gümüşay: ★★★✩✩

They Called Us Enemy by George Takei: ★★★★✩

Lieber Jonas oder Der Wunsch nach Selbstbestimmung by Linus Giese: ★★★★✩

Gender. A Graphic Guide by Meg-John Barker & Julia Scheele: ★★½✩✩

Hood Feminism by Mikkie Kendall: ★★★★★  

Let’s Talk About Sex, Habibi by Mohamed Amjahid: ★★★★★  

Wie kann ich was bewegen? by Raúl Krauthausen & Benjamin Schwarz: (stopped bc it made me unhappy)

Caliban and the Witch by (not finished yet)

NichtMutterSein by Nadine Pungs: ★★★½✩

Desintegriert euch! by Max Czollek: ★★★★✩

Pageboy by Elliot Page: ★★★★★  

Hass by Şeyda Kurt: ★★★★½

Die stille Gewalt by Asha Hedayati: ★★★★★  

Die letzten Tage des Patriarchats by Margarete Stochowski: ★★★★½

Identitätskrise by Alice Hasters: ★★★½✩

Anti-Girlboss by Nadia Shehadeh: ★★★½✩

Graphic novels and webcomics:

Pimo & Rex by Thomas Wellmann: ★★★★✩

Pimo & Rex: Die interdimensionale Hochzeit by Thomas Wellmann: ★★★★✩ 

Freibad by Paulina Stulin & Doris Dörrie: ★★✩✩✩    

The Tea Dragon Festival by K. O’Neill: ★★★★★  

Medusa & Perseus by André Breinbauer: ★★✩✩✩/★★★✩✩