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In Veronica Raimo’s novel "The Girl at the Door," there's a fine line between admiring a culture and alienation from it.
But why salt so much dialogue with, like, annoyingly contemporary expressions?
Where do we go from here? The shakedowns are not in themselves the victory.
Without fresh accusations, he's probably in the clear for Season Two.
The Emmy- and Tony-winner has choice thoughts on men and #MeToo, too.
"She is so strong. She is scared, but she endures. She is my hero."
The original #MeToo musical offers memorable acting by enduring stage talents.
A woman must find a way to seize the upper hand from the man who stole her innocence.
Lyrics and trial transcriptions join forces in a powerful oratorio.
"Jeremy continues to email me from about 10 different addresses, with marriage proposals, suicide threats and pictures of his dick."
"Most of the men who sexually harassed or accosted me are presumably dead or nearly dead, and good riddance."
The powerful do not instigate mass movements. They appropriate and profit from them, then kill them at the grassroots.
Things aren’t always black and white, and that woman will figure it out.
Spare us the delusional white liberal feminist who takes a woman of colour to the Golden Globes red carpet like a Swarovski clutch.