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Lena Dunham Issues Yet Another Apology

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Photo by Dia Dipasupil/Getty Images for Lincoln Center.

Which again misses the point

More than a year later, Lena Dunham is finally ready to publicly apologize to actress Aurora Perrineau.

For a refresher: When Perrineau accused Girls writer Murray Miller of sexual assault last November, Dunham came to his defense, claiming that this is "one of the 3 percent of assault cases that are misreported every year." The next day, she issued a statement in which she said that "it was important to share my perspective on my friend's situation" and vaguely apologized to "any women who have been disappointed." She never publicly said the words "I'm sorry" to Perrineau, even after it was proved that Miller lied about Perrineau demanding money. Now, she's taking the time to do so in a letter published in The Hollywood Reporter, but, in typical Dunham fashion, something about the declaration seems off—specifically the part where she seems to put the burden of her awakening on someone else.

"This year has been incredible for women in Hollywood," she opens the piece. "There has been unprecedented dialogue about issues like wage equality and systemic bias and, most notably, sexual assault and harassment." She goes on to say that she cheered and clapped when Harvey Weinstein was revealed to be a sexual predator. She adds that she, too, has hidden her trauma and worked hard to separate herself from it. "I never stopped, much less stopped to consider that I might be capable of traumatizing somebody, too (the exact complaint I've always had about old white man artists)," she writes.

Referring to her defense of Miller as a "mistake," she declares: "There are few acts I could ever regret more in this life." She then dedicates a whole paragraph to Perrineau and thanks her for making her a "better feminist"—a task that Perrineau should've never had to take on.

To Aurora: You have been on my mind and in my heart every day this year. I love you. I will always love you. I will always work to right that wrong. In that way, you have made me a better woman and a better feminist. You shouldn't have been given that job in addition to your other burdens, but here we are, and here I am asking: How do we move forward? Not just you and I but all of us, living in the gray space between admission and vindication.

Dunham can maybe start by lifting that "burden" off of victims and, specifically, women of color. It shouldn't land on Perrineau nor anyone else to help make her a "better feminist" or tell her how to "move forward." It's on Dunham to educate herself and learn these lessons on her own.

Dunham continues to address the actress later in the piece, adding:

Aurora—your bravery, openness, forgiveness, dignity and grace in the face of legal proceedings and endless questioning and in the face of my statement has been astounding. You've been a model of stoicism, all the while reminding other women that their assault experiences are theirs to process as they wish (with noise, with silence, with rage — it's all OK). You have generously allowed me to speak about your many virtues here and tell these readers that you are moving on as a woman and as an artist. You have inspired me to do the same, and I know I'm not alone.

The actual apology comes at the very end, when she writes: "Sometimes healing starts with the words: I'm sorry."

Nail polish is for novices

Fashion label The Blonds is known for its high-intensity looks that you'd only wear if you wanted to stand out (and who doesn't?). For its runway shows, wild press-on nails are the beauty step that can't be missed. So, since the brand has partnered with CND since it was founded, we thought it best to get prepped for the show with Jan Arnold, CND's co-founder.

See why you should take your nail look from a zero to a 10, in the video above.

Credits:
Shot by Charlotte Prager
Edited by Gretta Wilson
Produced by Alexandra Hsie
Production Assistant: Polina Buchak
Featuring Jan Arnold of CND Nails and The Blonds

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Photo courtesy of Warner Bros. Pictures.

It would've been nice if someone said the word "fat"

Back in November, Rebel Wilson claimed to be the first plus-sized lead in a romantic comedy when she appeared on Ellen to talk about her role in Isn't It Romantic. Wilson was not only wrong, but she was—even if inadvertently—erasing the work of Black plus-size actresses like Queen Latifah and Mo'Nique, both of whom have expansive resumes that include romantic comedies.

Wilson's comment isn't the first example of white women taking up a little too much space in the fat acceptance ethos. It's actually quite common. But there is a reason why women like Wilson—women who are blonde, pretty, successful, and white—get put front and center in calls for body positivity. In the same way that feminism—the movement from which body positivity was born—has often failed to address how gender intersects with other identities like race and class; so, too, has body positivity been championed as a cause for otherwise privileged women. And that's why it's no surprise that Isn't It Romantic, which aspires to be both a spot-on mockery of rom-coms and a celebration of body positivity, is actually a perfect example of how very white both the movie genre and the body positivity movement tend to be.

In the film, Wilson plays Natalie, an architect based in New York, who is single and plus-sized—the archetypal rom-com underdog. Very early on in the movie, she endures the double humiliation of both being hit by a runaway food cart and then accosted by its owner for not stopping it with her "cement truck"-like body. At work, Natalie is similarly disrespected: The office manager hands off troubleshooting tasks to Natalie; another colleague always tasks Natalie to throw out his trash; her assistant Whitney (Betty Gilpin) won't stop watching movies (rom-coms, naturally) while in the office; and Natalie is so afraid to present her ideas for more innovative parking garage designs that she isn't even widely known in the firm as an architect, and is treated like an intern.

But is Natalie just a doormat? Or is it that she isn't asking for what she wants? And isn't very nice about not getting it? If Natalie's life is any example, the bar on suffering is set pretty low for white women. In her personal life, Natalie lives alone with her dog, and seems to be pretty well-off, financially; her best friend is actually her slacker assistant, Whitney, and she's close with another coworker, Josh (Adam Devine), who gives Natalie constant emotional support. She's decidedly anti-romantic, having been told by her mother from a young age that there's no such thing as real-life fairy tales; she's level-headed and practical. But also, she's filled with self-loathing. This leads her to be crass, sarcastic, and disconnected from people. And it was this last part that was hard for me. As a fat Black woman who grew up broke, does not have an assistant, and would get fired if I didn't do my job well, it was hard, if not impossible, to root for her.

For Natalie, though, everything changes when she bangs her head while fighting off a mugger. Her mundane life is tinted through rosy rom-com glasses. Suddenly, all the things that sucked about her life are gone, and everything is beautiful and perfect. But was her life so bad before? It didn't really seem to be.

And yet, looking around the theater at the mostly white, female audience, I accepted that my feelings didn't seem to be shared. But that almost seems to be by design; this feels like a movie for a white, female audience. There is only one person of color in the movie who even has a name: It's Isabelle (Priyanka Chopra), who shows up about halfway through the film—after everything has been rom-com filtered—as a yoga ambassador and swimsuit model. But a name is all Isabella has. A supporting character at best, she doesn't have any connection to anyone other than her white boyfriend, and is sketchily drawn. We learn nothing of her familial or ethnic background, and, even when she is shown at her wedding, there is nobody from her family celebrating with her. This huge oversight is particularly bizarre, given that Natalie has already bemoaned the lack of diversity in romantic films.

Another huge oversight? The presence of the word "fat." I don't think I heard it used a single time. Natalie only references her weight indirectly, by commenting on the appearance of straight-sized women; when talking about her own body, the word "fat" is replaced with "girl like me." But by ignoring this aspect of herself, and refusing to address it head-on, Natalie is succumbing to the same fatphobia that shapes her world, whether she identifies it as being a problem or not.

Before her life becomes a rom-com, Natalie feels invisible at work and in the world. Some of this is certainly her fault, but fatphobia is also at play. Fatphobia chips away at the humanity of fat people from different angles. It means that Natalie gets used to being dehumanized; she doesn't expect others to have empathy for her when she's physically hurt, because they don't value her body. And it's no coincidence that Natalie's fantasy world includes a magically bigger apartment with unlimited clothing options, because discrimination against fat people isn't just a matter aesthetics and preferences—it affects everything from our ability to dress ourselves to our ability to make and save money, since there's a price to pay for being fat, even if it's just having to pay more to travel. Just as much as gender and race intersect with fat bodies, so, too, do economics and class.

I knew I could count on a plus-sized white comedian to take down a genre of films that prioritized thin women. But I ventured to see if Wilson could go further than that, and challenge what it means to be white and well-off and fat in the process; it isn't just about taking down rom-coms but about doing so in a way that isn't just a mouthpiece for white feminist values. But, in the end, that isn't what happened. Isn't It Romantic is fine, but it needed to do more than target an audience of girls who are 10 to 30 pounds overweight and still too jolted by the word "fat" to ever apply it to themselves, so they go for acceptable alternatives, like curvy, plus-sized—or thicc, if they're hip. But I'm not afraid to say I'm fat, I'm just disappointed I will be waiting even longer to see a realistic reflection of that experience onscreen.

Isn't It Romantic is in theaters now.