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SEC vs Celebrity Crypto Promoters
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Arielle Bernstein
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Lost in the Litchfield riot: “OITNB” shows how precarious mental illness treatment is behind bars
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The “personal essay boom” is dead. Long live the personal essay!
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The human cost of a forced upgrade: What we lose when technology platforms fade away
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Reassessing “Daria”: The legacy of MTV’s deadpan “misery chick” is not one of cynicism, but hope
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Yes, feminists can laugh at themselves: “But don’t be lazy with your rape joke”
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When “I’m sorry for your loss” doesn’t cut it: “Orange Is the New Black” explores the limits of easy apologies
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Killing with kindness: “Lady Dynamite” and “Kimmy Schmidt” prove nice women can be funny and complex, too
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Beyond the “girl power” anthem: Beyoncé, Lana Del Rey and pop’s radical embrace of female vulnerability
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Joy is a feminist (comedy) act: With her playful, dirty swagger, “Broad City”’s Ilana is breaking the mold
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Our Barbies, ourselves: The new diverse Barbies are progress — but we’re giving them too much power
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Nobody has to “man up” here: Feminist shows “Jessica Jones” and “Transparent” are also a win for men
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The new cool girl trap: Why we traded one set of rigid rules about who’s “likable” for another
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The existential genius of Lana Del Rey: Performing yearning self-destruction as meaningful as Don Draper’s — and just as uniquely American
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Girl swagger and blood lust: Rihanna, Taylor Swift and repackaging toxic masculinity for a female audience
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Pennsatucky’s redemption: How “Orange Is the New Black” pulled a reverse “Breaking Bad”
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