Say the word "Degrassi" to anyone 35 or younger in Canada and she'll know exactly what you're talking about. The iconic television show has gone through many incarnations: "Degrassi Junior High," "Degrassi High," "The Kids of Degrassi Street," and most recently "Degrassi: The Next Generation," but has always dealt openly with the issues that kids face growing up. What makes the series unique is the writers' and producers' willingness to deal with issues that make most adults, let alone teens, cringe. Since its debut in 1987 the show has dealt with frankly with abortion, homosexuality, child abuse, rape, teenage pregnancy, AIDS and other complex topics.
I remember rushing home from school as a kid to catch the latest Degrassi episode. At the time I was educated rather than shocked by the topics that they covered. When a punk character named Spike became pregnant after sleeping with her boyfriend, she wrestled with whether or not to continue with the pregnancy, how to tell her boyfriend Shane, and how to tell her parents. As a young girl, this was likely one of the first times that I had heard of the subject "teen pregnancy" and I watched in fascination as someone that was close to my age made one of the hardest decisions of her life. The show presented situations realistically enough for me to wonder, "what would I do?"
"Degrassi: The Next Generation" keeps alive the tradition of dealing with controversy. It has several openly gay and lesbian characters, characters questioning their sexuality, and all of them trying to make the choices about their own sexual experiences. I am well past the target audience's age group, and yet I continue to tune in. If I had a child, I would sit down with him or her and watch the episodes together in order to start a dialogue about difficult subjects.
Pop culture today is saturated with sexual images, and youth are bombarded with contradictory messages – sex is something you should only do in marriage, or at the very least in a "committed and loving" relationship; at the same time, supposedly, "everyone is doing it." It is refreshing to see that issues that affect youth so deeply can be addressed in such a meaningful and teen-centered way. Instead of preaching, Degrassi lets youth be in charge of their future by making choices that are the best for them, and not catering to the wishes of parents or other authority figures.
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Rewire recently spoke to Lindsey Averill and Viridiana Lieberman, who are crowdsourcing funds for Fattitude, their documentary about fat prejudice. The filmmakers discuss the core principles of Fattitude, the harassment they've experienced while making the film, and much more.
So often in pop culture, fat is used as a symbol of immorality.
From Colin Farrell’s fat-hating boss inHorrible Bosses to “Fat Monica” on Friends to Ursula in Disney’s The Little Mermaid, fat bodies frequently are a substitute for something disturbing, somethinglaughable, or something that’s villainous. Even if the fat-shaming is not overt, as in Lifetime’s series Drop Dead Diva, there is still an underlying message that fat equals impiety.
Yet, despite widespread acceptance that pop culture drives and defines how we feel about our bodies, there has yet to be much acknowledgement of how society is not only rife with fat discrimination, but is complacent about it.
That’s where Lindsey Averill and Viridiana Lieberman come in. Through their feature-length documentary, Fattitude, the Florida-based filmmakers and long-time friends are taking a concentrated look at the ubiquity of fat prejudice through media analyses and interviews with some well-known activists—like Marilyn Wann, author of Fat! So?, and Sony Renee Taylor, founder of global movement The Body is Not an Apology. They also plan to develop an educational activist campaign around the film, much like those related to the documentaries An Inconvenient Truth and Miss Representation, that centers on raising awareness of fat discrimination.
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“Our media tells a lot of lies about fat bodies and about the experience of living in fat bodies,” Averill told Rewire. The film project is “close to both of our hearts because we both have lived in bodies of changing sizes throughout our lives and we both battled how fat discrimination functions, how fat hatred functions, how fat-shaming functions.”
Fattitude is still in the production phase, though, and Averill and Lieberman have turned to the community to help fund their project through a Kickstarter campaign, which ends on Sunday, May 25. Funds raised through the drive will go toward travel costs for the crew and production team to shoot additional interviews, equipment purchases, revenue for an illustrator/animator and sound editor, and costs of film festival applications.
So far, their Kickstarter campaign has more than exceeded its goal, bringing in nearly $5,000 more than the original $38,050 they set out to raise. With only a few days left, the duo is now pushing for $50,000, hoping to raise enough for additional production items such as professional color correction, original music composition, and a fair use lawyer.
But the entire process has not gone smoothly. Earlier this year, Averill and Lieberman became the victims of a horrible online attack. Shortly after launching their Kickstarter, a YouTube user by the handle “GODBLESSADOLFHITLER” posted the Fattitude trailer under the title “Cakes: The New Comedy Hit,” which Averill immediately reported for copyright infringement, and YouTube removed it. Apparently angry about being reported, the YouTube user began to harass Averill, Lieberman, and their supporters on Twitter, posting their contact information online—or “doxxing” them—and soliciting his followers to also stalk and abuse the filmmakers. In a matter of days, Averill and Lieberman were receiving rape and death threats, hate mail, and frightening phone calls. The abuse continues to this day. (The incidents were reported to local police, which subpoenaed Google, YouTube’s parent company, but the filmmakers have yet to hear back.)
While the experience has left both Averill and Lieberman shaken, they say it’s validated the importance of both the film and their work in exposing fat hatred. “I feel more aggressively determined that this is an absolutely necessary film,” Averill said.
Rewire recently spoke with the filmmakers about the core principles of Fattitude, the latest episode of Louie, the importance of featuring diverse voices, and more.
Rewire: Fattitude aims to educate about “the harsh and very real realities of fat shaming and fat hatred.” How so?
Lindsey Averill: We felt that there wasn’t a strong documentary that really looked at how popular culture intensifies fat discrimination in everyday life. For us, we believe representation plays a huge role in how we formulate our ideas about the culture we live in. What we did is really examine popular culture and say, “How is the everyday experience of media representing the fat body?” So our film [is] really delving into that. We’re saying, “In our culture, when we talk about fat bodies, it’s in a negative context, period.”
Viridiana Lieberman: And using pop culture as a lens is very accessible in conversation because everybody can relate or has seen one or all of the forms of media we’re discussing—whether it’s a show you really like or a story that you read about in the newspaper, or just reality television that is just in your ear all the time, even if you’re not watching it.
LA: For us, we feel that [the first step in] educating the populous about fat discrimination is opening people’s eyes to the reality of the fact that they already are complacent in fat discrimination because it’s so acceptable in the media that that message is imbedded in our lives. Our film is our first action item. It’s the first space in which we put forward, “Open your eyes. Realize that this is one of the invisible cultural assumptions that you’re not paying attention to, and you’re not realizing how cruel, how frugal, and how aggressive this assumption is when it plays out in everyday life.”
Rewire: You write on Fattitude‘s Kickstarter that, through this journey, a lot of your own views about fat prejudice and how it is to live in a fat body evolved. Can you talk about that?
LA: I became really conscious of where my failures of body acceptance were. Yes, I was already an activist saying everyone should love their bodies, but [being] in front of these people who so totally have taken on the reality of that, I realized I hadn’t yet. There were moments where even if I wasn’t saying something negative about my body, I was looking in the mirror and assessing it in my own mind. There were these very subconscious whispers that I was able to figure out how to dispel.
On top of that, an academic argument makes sense, but it’s very different seeing it crystalize in real life for you. A lot of the arguments I have seen people make, I hadn’t formulated my own opinions about, per se. Even with regards to “How do we manage this airplane [seat size] issue?” Through the process of listening to all these academics and talking with them, all of a sudden I was like, “No, no this is totally serious. The corporations need to be responsible for this. This is just flat-out discrimination.” Whereas I hadn’t thought deeply about it until I was listening to others really talking [about it].
VL: The pop culture reference we used to like to say [in women’s studies] is that you got unplugged from the matrix—the whole idea that all of a sudden you can see it everywhere, and in everything. That definitely happened to me right when we started working on the project with different aspects of fat activism. But the biggest thing for me, personally speaking, is when interviewing people, I remember walking out of those interviews and thinking, “How did they unplug [from the matrix]?”
I remember I used to wait to do things. I really gauged a lot of big moments in my life on the concept that I should wait until I reach a goal weight or I’m more fit or blah blah blah. And that was such a weird concept to sit back and be like, “Wait a minute, not only is this perhaps the way my body will be no matter what I do, but on top of that, you should never wait.”
What a terrible reason to wait to do things! [laughs]
I remember sitting back and I felt so much more free. [But I] also became very conscious of what people were saying around me from what they ingested in pop culture, and how they feel about their bodies—when we eat and they feel guilty.
LA: The other thing that was amazing to see was that a lot of the people we met [who] totally embraced body positivity and fat positivity have literally unplugged from popular culture. They said, “I’m no longer going to look at these images that tell me my body is not OK because that is totally detrimental to me.” And they had no television, didn’t see movies, just totally unplugged from the popular media because they felt popular media was constantly harassing and torturing them.
VL: We’d start rattling off the list of shows that we want to hear their input on, and they’ve never seen it. “Oh I’ve heard of that one, never seen it.” “I don’t own a television.” I mean every single person [laughs] and that was a huge revelation.
Rewire:In last week’s episode of Louie, the character Vanessa, played by Sarah Baker, made a speech about dating as a fat woman, which was praised by media outlets. Critics, however, like Willa Paskin at Slate, question the scene’s intent. How does that scene challenge or propagate the perception of fatness in pop culture?
LA: That moment on Louieis rife with both the good and the bad. For example, it is amazing to see someone on television acknowledge the fact that the way we lie about the reality of a person’s body size is insulting and demeaning. Regularly when I refer to my body as fat, people try to tell me it’s not. Obviously, they are lying to me because they believe that being fat is something to be ashamed of, something ugly, something awful. Of course, in reality being fat is just a fact. It doesn’t have to have moral or aesthetic resonance—and the attempt to “hide” me from my fat points out that they believe that if I know I’m fat then I can’t possibly like myself. So I think the fact that this character is on television pointing out the ugliness that is intrinsic in dismissing the reality of a person’s body size is amazing and also really unheard of in mainstream media.
That said, [the speech] also relies on popular cultural lies—like the idea that fat women are not desired or that men are “ashamed” to be seen with fat women—and it makes some really limited assumptions about the issues that fat women struggle with and in turn obscures the systemic reality of fat discrimination. I think the conversation about fat discrimination is more concerned with the reality that fat people make less money than their thin counter parts, that they often receive sub-par medical care, and that they are assumed to be lazy or stupid.
Arguably, this scene gives fat men an edge over fat women—which is debatable. It’s true that historic understandings of femininity have relegated women to the role of object and therefore “beauty,” and long-term relationships are understood as defining and significant factors in a woman’s life, but not a man’s. Of course this is an archaic idea, and yet popular culture still perpetuates these stereotypical gender concepts. That said, ultimately fat men and fat women suffer. We can’t sit around comparing oppressions. Instead we need to work on eliminating the causes of discrimination.
Rewire:What I find interesting, though, is that some outlets, like Flavorwire, are hailing it as this moment that’s given a voice to fat people, which seems dismissive of fat activists. How does that response play into what you’re discussing in Fattitude?
LA:One of the things we can always say is that on some level, anytime we’re having a conversation about fat discrimination—even if it’s problematic—we’re starting a conversation. I feel that the conversations are not being had enough in general, so while the conversation might be problematic, there’s a part of me that feels joy any time the conversation exists at all.
VL:I totally agree with that point.
LA: While there are activists on the ground, and there are amazing people out there saying amazing things, at the end of the day, the way our culture works—and the way it sort of worked for decades—is when you have someone famous as your spokesperson and you have someone famous start the conversation, the conversation is heard. Versus when you have activists having the conversation, it often gets relegated to, “Oh, those are activists talking. I don’t know if that’s important or not.”
And I say that with complete sarcasm, because while the activists are doing amazing and unbelievable things, they’re often shown as the far left or the far right. I’m saying that we can bring the conversation to center and enable it to happen.
VL: Right. You don’t need to mediate that, though. At the end of the day, if that person may have opened the door, it’s still giving access for people to finally be heard.
Rewire: As seen in Fattitude’s trailer, you feature a lot of diverse voices from cultural, wellness, and academic fields. How important was it to tackle this issue from those different viewpoints?
LA: We entered the sphere of making this film with the belief that diversity and diverse voices were extensively important, and one of the current flaws with the trailer—which will not be true of this film—is that it is all women’s voices. It is our goal, by the time we complete this film, that it is a film about fat men and fat women of every race, creed, sex, color, all of the above, because we believe only in that space can you truly have a conversation about what’s being experienced.
Rewire: Were there any issues that you were surprised to learned about as you conducted these interviews?
LA: The reality is that I was so well-informed before we even got to this because I am writing a dissertation of fat activist and fat-shaming. So most of the time, it was about the nuance of the argument, not that an argument popped that [we never thought about]. You look at an argument that you’ve defined for yourself, but then you start listening to [Fat! So? author] Marilynn Wann or [author and activist] Virgie Tovar explaining why they’ve come to the reasoning about a particular argument, and you think, “Oh, that’s incredible.” Then you talk to someone like [Seeking the Straight and Narrow author] Lynne Gerber, and you go, “Oh my God, holy, that’s incredible too.”
You knew it was wrong that someone on the airplane was being kicked off for their body size, but you didn’t take the step forward to realize that the corporation must fix that. The fact that people didn’t think [about it as], “We’re telling you you deserve to be punished. You deserve to be kicked off this plane because your body size is too big,” the fact that people aren’t recognizing that’s prejudice—that was the kind of nuance that became blatantly clear.
VL: That’s why we love that quote where [Gerber] says, “We can land a person on the moon, but we can’t figure out how to get airplane seats for a human being,” because it’s true. Even “thin” people complain about those seats being too small [laughs]. There’s no relevance, there’s no acceptance of any form of spectrum in body size in the human body. Like Lindsey said, it’s just thought to be absolutely OK, undeniably OK, to discriminate and make that assumption.
Rewire: In the process of promoting Fattitude, you’ve also experienced incredible anti-fat abuse and harassment on- and offline. Tell us about that.
LA: It definitely happened to both of us. I think my household experienced the brunt of it, but I was not alone. [“GODBLESSADOLFHITLER”]got very angry and started harassing me on Twitter, initially. My reaction to his harassment on Twitter was, “This is someone who is ridiculous,” and I blocked him. Then he proceeded to go from there to calling my house and sending things to us in the mail, calling my parents’ house, calling my husband’s business, sending Mormon missionaries, having other people send horrible letters that said frightening things, death threats, rape threats. Viri got very aggressive rape threats. We got pizzas delivered to our house. Two days ago, I got a cola. It’s ongoing. It doesn’t go away. It has an anti-Semitic [element], which I think is just part of his online persona, but most of it is “fat bitch cunt” kind of stuff. It’s really anti-woman. It’s really anti-fat. It’s anti-gay, absolutely.
Rewire: Are both of you OK?
LA: I think we’re OK. That’s the best I can say. Our alarm went off the other night, and you feel like cowering in a corner because for the first time in your life, it’s not your instinct to be like, “Oh, that’s our sensitive alarm [that goes off] all the time.” Instead, you’re like, “Oh my God, who’s outside my house?!” There’s definitely a certain level of paranoia I could do without.
VL: The day after my information got out on the Web, I remember getting really nervous, looking over my shoulder. Any time our phone buzzes when somebody would come to our apartment building, there was always a hesitation, even if it was our friends or someone randomly calling the wrong apartment. But it’s where your mind goes first, which is bad.
LA: You feel more cautious and more anxious. But we’re making this film for a reason. It’s an absolutely necessary conversation, because I have now not only experienced the bullying that was experienced by living in a fat body in the world, but I have also experienced this intense level of fat hatred in the culture that I haven’t felt. The reality is, activists like Amanda Levitt [of] Fat Body Politics get this kind of trolling on a regular basis. They get this kind of brutal ugliness coming at them as they try to fight this. I contacted all the people in our film right away when this started, and activist Substantia Jones was like, “Hey, this is my life. This happens to me all the time. We are human, we are strong, and we won’t be quieted.” There’s a huge part for me where I have to remind myself that the activists now, and who came before us, experienced this, and that’s a part of it. That’s what happens, because you’re striking a nerve and you’re having a conversation that is obviously compelling, but also important.
I think at the end of the day, are we OK? Yeah, we’re OK. Is it great? Not always, but we’re OK.
Rewire: What has this experience showed you about the work you’re doing with Fattitude?
LA: We’ve seen the ugliest version of fat discrimination. Fat discrimination is that someone thinks it’s perfectly acceptable to come up to me, and go, “Oh, I’m on this great new diet, I should tell you about it,” because that person is assuming that I want to know about a diet, that I’m interested, that I’m unhappy with my body as it is now. That’s a version of fat discrimination. And, obviously, so is someone sending me hate mail and threatening my life, and calling my documentary cancerous because I am trying to tell people it’s OK to live your life even if you’re fat.
That’s what it showed us: It’s not just something subtle. We know it’s systematic. But we just looked at the brutal version of the hatred.
VL: And the hatred that happens at a time of change.
Rewire: In the end, what is the number one thing we should know about Fattitude?
LA: That each person’s body belongs to them. One of the things we like to do in this world is to think we have the right to judge other’s choices, and that’s one of the ways we quickly justify body prejudice. Everyone’s body is their own, and everyone’s body deserves the right to live free, equally, and with love and acceptance in this world.
VL: I couldn’t have said it better.
This interview has been edited for length and clarity.
Rhode Island’s legislative agenda on abortion; Louisiana state rep introduces abortion ban; and Rwanda unveils national campaign to address cervical cancer.
Rhode Island will look at changing some of their abortion laws in the coming weeks. On deck are provisions that would ban abortions based on sex selection, require an ultrasound prior to an abortion, relaxing the current parental consent law by allowing adult relatives to give permission for a minor’s pregnancy termination, and a fetal homicide law.
A state representative in Louisiana has introduced a bill that would ban abortion in the state by expanding the definition of feticide to include pregnant women who seek abortion and the physicians who perform pregnancy termination.
Rwanda is unveiling a national plan to vaccinate girls age 12-15 from HPV, a virus that can cause cervical cancer. The action plan is the first of its kind in Africa, and the nation has a particular challenge in that not all of its young female citizens are in school, which is how other many other countries vaccinate their youth. Rwanda is relying on three years’ worth of donated vaccine by Merck, the makers of Gardasil, and an extensive network of community health workers to provide the series of three shots.