DON’T MISS SEASON 2 OF THE GOLDEN GLOBE AND EMMY AWARD-WINNING HBO® SERIES STARRING REESE WITHERSPOON, NICOLE KIDMAN, SHAILENE WOODLEY, LAURA DERN, ZOË KRAVITZ, AND MERYL STREEP From the author of Nine Perfect Strangers, Apples Never Fall, and The Husband’s Secret comes the #1 New York Times bestselling novel about the dangerous little lies we tell ourselves just to survive. A murder...A tragic accident...Or just parents behaving badly? What’s indisputable is that someone is dead. Madeline is a force to be reckoned with. She’s funny, biting, and passionate; she remembers everything and forgives no one. Celeste is the kind of beautiful woman who makes the world stop and stare but she is paying a price for the illusion of perfection. New to town, single mom Jane is so young that another mother mistakes her for a nanny. She comes with a mysterious past and a sadness beyond her years. These three women are at different crossroads, but they will all wind up in the same shocking place. Big Little Lies is a brilliant take on ex-husbands and second wives, mothers and daughters, schoolyard scandal, and the little lies that can turn lethal.

A murder... a tragic accident... or just parents behaving badly? What's indisputable is that someone is dead. But who did what? Big Little Lies follows three women, each at a crossroads

Motherhood has long been depicted in reductive or limited terms. At once valorized and configured as the ultimate end-goal for socially condoned femininity, maternity is also highly mediated and scrutinized. This has resulted in a representational tradition that persists in imagining maternal subjects in rigid binary terms, pitting good mothers against bad. Largely in response to this repressive schema, recent years have marked the emergence of a diverse range of visual and literary texts about motherhood. While such texts vary in style, genre and form, this book argues that they are unified in their efforts to publicize embodied maternal experience and foreground maternal ambivalence, a concept that is best understood as a mother’s capacity to simultaneously love and hate her child. Although maternal ambivalence has become an increasingly popular topic of study with maternal scholars, its articulation within contemporary representations and narratives has yet to be adequately theorized and addressed, and this book aims to fill this gap.

Mothers on American television takes an in-depth look at how motherhood is represented on some of the most popular television series produced this century. Adopting a feminist, Marxist, cultural studies and psychoanalytical approach, the book offers a history of the positioning of mothers within American society. It provides detailed analysis of The Sopranos, Sex and the City, The Handmaid’s Tale and more, while reflecting on the newspaper ‘mommy wars’, employment patterns and alternative views of motherhood.

This collection considers how maternal regret, as it is conveyed in remorse, resentment, dissatisfaction, and disappointment, troubles the assumptions and mandates of normative motherhood and how it is explored and critiqued in creative non-fiction, film, literature, and social media. Maternal regret is also examined in relation to the estrangement of mother and child and the remorse and grief felt by both mothers and children caused by the abandonment of mother or child. Finally, the collection explores how regret opens the space for maternal erudition, enlightenment, and evolution; and makes possible maternal empowerment. The book is organized by way of these three sections: the first “Resistances” examines how maternal regret as conveyed in remorse, disillusionment, and resentment counters and corrects normative motherhood, the second, “Renunciations” looks at how regret is experienced in mother-child abandonment, and the third, “Reflections” explores how regret may be an opportunity for maternal knowledge and power. Overall, the collection serves to debunk and destroy the final taboo of normative motherhood that of maternal regret.. Mothers voicing regret, as journalist Kingston writes, “signals a large groundswell of maternal reckoning, [one that] has been compared to the #MeToo campaign.”

How female directors, producers, and writers navigate the challenges and barriers facing female-driven projects at each stage of filmmaking in contemporary Hollywood. Conversations about gender equity in the workplace accelerated in the 2010s, with debates inside Hollywood specifically pointing to broader systemic problems of employment disparities and exploitative labor practices. Compounded by the devastating #MeToo revelations, these problems led to a wide-scale call for change. The Value Gap traces female-driven filmmaking across development, financing, production, film festivals, marketing, and distribution, examining the realities facing women working in the industry during this transformative moment. Drawing from five years of extensive interviews with female producers, writers, and directors at different stages of their careers, Courtney Brannon Donoghue examines how Hollywood business cultures “value” female-driven projects as risky or not bankable. Industry claims that “movies targeting female audiences don’t make money” or “women can’t direct big-budget blockbusters” have long circulated to rationalize systemic gender inequities and have served to normalize studios prioritizing the white male–driven status quo. Through a critical media industry studies lens, The Value Gap challenges this pervasive logic with firsthand accounts of women actively navigating the male-dominated and conglomerate-owned industrial landscape.

As binge-watching and streaming lead to increasing amounts of content and screen time, understanding how domestic violence and abuse is portrayed in popular culture and its impact on DVA in our society is more important than ever. This collection demonstrates how networked communication is influencing activism, both online and in the real-world.