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In the finale of Bitter Bitches 3 Jade continues to cause nothing but hell in Sanai and Knowledge's life. As if the plastic surgery to look like Sanai weren't enough she does the unthinkable and kidnaps their six-year old son Jordan. But when tragedy hits home involving the daughter that she shares with Knowledge will it be enough for Jade to change her ways and right her wrongs? Or will she keep right on being the evil bitter bitch that she is? Sanai is trying hard to forgive Knowledge for all of the pain he has caused her but when Jade strikes again she decides that enough is enough! She places her heart under lock and key and rids herself of Knowledge for good. Is this another one of their many breaks or has Sanai finally regained her strength and realizes she deserves so much more? Paris has finally found a man that worships the ground that she walks on. Yet, she can't love him like she should because of her past. Every day she's haunted with the memories Legend left her with. Will Paris be able to see that all men aren't the same and learn to love again? Or will her insecurities cause her to lose a good man? The finale of Bitter Bitches 3 will take you on an emotional roller coaster. Will you laugh or cry as more secrets come to light destroying relationships. Old flames will reappear while everyone's sanity is tested. Will Sanai and Paris become bitter bitches like Jade?
The drama continues! Sanai now knows that Knowledge has fathered yet another child, only this time it's with her best friend Jade. Will Sanai finally put her foot down and say enough is enough? Or will she continue to allow Knowledge to disrespect her? Will she seek revenge on Jade, or will she just let karma run its course? Jade is back and bitter as ever. She thought that once Sanai found out about her and Knowledge's secret that he would become the perfect father to their daughter. Wrong... Instead, he acts like she doesn't exist, and for that she's determined to make him pay! She wants both Sanai and Knowledge to feel the pain that she's experiencing. Even if it means bringing harm to one of their children. When Romeo came into Paris's life she finally thought she was free from all of the heartache and pain that Legend caused her. But, for some reason Legend just won't let go. He begins to stalk her every move. In the midst of it all, shots are fired leaving Paris to have to fight for her life. Will Legend be the death of Paris, or will she find love with Romeo? Will these three woman all turn into bitter bitches? Find out in this drama-filled, page turning story. The twists in this story will have you anticipating for more.
In a world where stories are sometimes told by the famous, infamous, or those who are controversial, Lisamarie Chorowiec tells the story of every woman through characters that are relatable, beautiful, comical, and above all, genuine. Michele is just one woman of millions who holds her own story inside. As she drives through her city and quietly assesses the dirt, the loud sirens, and the imperfections, Michele realizes that she finds comfort and beauty in all of it. As Sandy reflects on her childhood, she learns that even though she was scared back then, today’s fears are more realistic. Anya loves the repetitiveness of her makeup routine—a daily ritual that, in its own strange way, provides her reassurance that she always looks her best. Gypsy will never forget the love that grew under a dim streetlight as a kiss stole her heart forever. Gina hates the questions and forced pleasantries that plague her during the day. Only at night, she feels free. Tragic Magic is a collection of moving short stories that gently remind women that we all deserve to be seen, no matter what our struggles or joys.
Kathryn Stockett’s 2009 best-selling novel The Help and its subsequent 2011 film center on the experiences of African-American domestic workers living in Jackson, Mississippi. Stockett’s sanitized portrayal of life in the Deep South where black women were charged with rearing white children while concurrently barred from sharing toilets and common eating areas with their employers simultaneously enthralled and disturbed readers and viewers alike. Notably, it is not the domestics themselves who render their tales but rather Eugenia Phelan, a white, twenty-something Mississippian with whom they hesitantly collaborate, who ultimately “voices” their stories of life during the harrowing early days of the Civil Rights movement in the Deep South. Essentially, these stories are articulated through the voice of a white woman; a fact that becomes even more complex when one acknowledges that this fictional tale of the inner life of black maids working in Jackson, Mississippi, one of the most notorious states in regards to racial atrocities suffered during the mid-twentieth century, is rendered through the words of a white southern writer. Despite the book’s positive public reception, its sentimental portrait of the lives of African-American domestic workers is troubling due to its heavy-handed use of dialect and “feel good” message about the admirable interventions of a white protagonist intent on alleviating some suffering while glossing over the vicious attacks on African-Americans during the Civil Rights era. The issue of visibility/invisibility is central in this text. At its most basic level, the text itself has lacked traditional critical visibility, as, currently, there has been a dearth of academic books focusing on this specific novel, although the novel and subsequent film received much attention in national newspapers and magazines, as well as significant critical debate in a wide variety of online venues. This collection considers why such sterilized versions of America’s complex racial history resonate so deeply in our contemporary timeframe. Essay topics range from examinations of the laboring black female body to the impact of domestic work on families, both black and white, to explorations of the connections between rhetoric, writing and race. Also included are several comparative pieces that draw connections between Stockett’s work and that of 1940s cartoonist Jackie Ormes, as well as filmic comparisons to Imitation of Life (1934 and 1959) and Black Girl (1966) by Senegalese filmmaker Ousmane Sembène. With a “Preface” by Trudier Harris and the inclusion of several essays previously published in Southern Quarterly and Southern Cultures, this volume represents the first text dedicated solely to Stockett’s wildly popular novel and its subsequent film adaptation.
This essay collection focuses on the gendered dimensions of reality television in both the United States and Great Britain. Through close readings of a wide range of reality programming, from Finding Sarah and Sister Wives to Ghost Adventures and Deadliest Warrior, the contributors think through questions of femininity and masculinity, as they relate to the intersections of gender, race, class, and sexuality. They connect the genre's combination of real people and surreal experiences, of authenticity and artifice, to the production of identity and norms of citizenship, the commodification of selfhood, and the naturalization of regimes of power. Whether assessing the Kardashian family brand, portrayals of hoarders, or big-family programs such as 19 Kids and Counting, the contributors analyze reality television as a relevant site for the production and performance of gender. In the process, they illuminate the larger neoliberal and postfeminist contexts in which reality TV is produced, promoted, watched, and experienced. Contributors. David Greven, Dana Heller, Su Holmes, Deborah Jermyn, Misha Kavka, Amanda Ann Klein, Susan Lepselter, Diane Negra, Laurie Ouellette, Gareth Palmer, Kirsten Pike, Maria Pramaggiore, Kimberly Springer, Rebecca Stephens, Lindsay Steenberg, Brenda R. Weber
An overachiever must decide if risking her heart by working with her former crush turned enemy is worth the reward in this snappy rom-com, perfect for fans of Tweet Cute and The Upside of Falling. High school senior Autumn Reeves has been waitlisted at her dream school. Determined to move to the top of the list, she must find a way to stand out. When a promposal she planned for a friend has half the senior class asking for her help, a brilliant business idea that will look great on her application is born: Promposal Queen. Autumn has no clue how to start a business, so she joins the Young Black Entrepreneurs group and finds herself face-to-face with Mekhi Winston, the boy whose unexpected freshman-year kiss—a kiss that meant everything to her and nothing to him—cost Autumn her best friend. He’s the only person with the experience to help her, but how can she possibly trust him? With her dreams on the line, Autumn’s willing to risk it. After all, Mekhi could be a good business partner without being a guy she would ever let near her heart again. But when working with Mekhi jeopardizes her only chance at rekindling a friendship with her ex-best-friend, and secrets long buried threaten to ruin Promposal Queen, another broken heart may be the least of her worries--her entire future is on the line.
Women Who Kill explores several lines of inquiry: the female murderer as a figure that destabilizes order; the tension between criminal and victim; the relationship between crime and expression (or the lack thereof); and the paradox whereby a crime can be both an act of destruction and a creative assertion of agency. In doing so, the contributors assess the influence of feminist, queer and gender studies on mainstream television and cinema, notably in the genres (film noir, horror, melodrama) that have received the most critical attention from this perspective. They also analyse the politics of representation by considering these works of fiction in their contexts and addressing some of the ambiguities raised by postfeminism. The book is structured in three parts: Neo-femmes Fatales; Action Babes and Monstrous Women. Films and series examined include White Men Are Cracking Up (1994); Hit & Miss (2012); Gone Girl (2014); Terminator (1984); The Walking Dead (2010); Mad Max: Fury Road (2015); Contagion (2011) and Ex Machina (2015) among others.
How young women make sense of, resist, and negotiate conflicting messages on female sexuality and sexual agency In Flirting with Danger, Lynn M. Phillips explores how young women make sense of, resist, and negotiate conflicting cultural messages about sexual agency, responsibility, aggression, and desire. How do women develop their ideas about sex, love, and domination? Why do they express feminist views condemning male violence in the abstract, but often adamantly refuse to name their own violent and exploitive encounters as abuse, rape, or victimization? Based on in-depth individual and collective interviews with a racially and culturally diverse sample of college-aged women, Flirting with Danger sheds valuable light on the cultural lenses through which young women interpret their sexual encounters and their experiences of male aggression in heterosexual relationships. Phillips makes an important contribution to the fields of female and adolescent sexuality, feminist theory, and feminist method. The volume will also be of particular use to advocates seeking to design prevention and intervention programs which speak to the complex needs of women grappling with questions of sexuality and violence.
Between the pages of this book are the very explicit detailed sexual behaviors of a one Keisha Klarke. The enjoyment of her participation is described in such realism, that the wording actually becomes imaginable, if not desired. In the midst of pulling her pants down, the young woman/growing adult somehow managed to maintain her objective, and achieve her set goals in the corporate world of big business. Unfortunately, most reckless endangering behaviors are associated with consequences that are usually harsh, or to the severity of being life threatening. As a young aggressive focused person, Keisha clearly placed the rewards of financial success first, with her ill advised styfe of sexing coming in a close second. STAY IN TOUCH, WITH YOUR DAMN SELF !!!
It's only two things young Nyla "Cola" Armstrong cares to accomplish. That's graduate high school baby-less and win her crush Dice's heart. Being raised by her alcoholic so-called mother often makes her feel like a motherless child. Surprisingly her loyal attitude and beautiful face finally win the young hustla's attention all too easily. The two quickly become an item, and Cola is blinded by his dangerous, thrilling yet secret double life. When secrets and betrayal unravel will Cola pay the price for the cost of love?