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Nothing makes me think “Yum! Greasy, artery-clogging fast food!” like a sexy lady.

“More than just a piece of meat” says it all, doesn’t it? Carl’s Jr (that’s Hardee’s to those of you in the midwest) has a history of sexist marketing used to sell their man-burgers through the use of scantily clad women. But besides the marketing, I can’t imagine choking down one of their monster-sized burgers without barfing. I just wish they’d stop shoving naked women down my throat.

Be sure to check out what Sarah Haskins says on the matter, after the jump.

UPDATE: The bloggers at bitch aren’t happy about the inclusion of music by Rilo Kiley in one of the more recent ads, either.  Check out their open letter to Jenny Lewis here.

(Jump!)

Kill Bill is, above all else, a story of vengeance.  Beatrix Kiddo, aka The Bride, is a woman out for revenge against Bill, the ringleader of the gang that shot down her wedding rehearsal, as well as the father of her unborn child.  Bill leaves Beatrix for dead, but after four years in a coma Beatrix miraculously wakes up and is devastated when she realizes her child is gone.  Grieving the loss of the new life she had hoped for, Beatrix makes a list of those who did her wrong and sets out to find her own form of justice.

Considering Kill Bill from a feminist perspective is an interesting task.  The film is chock full of strong and powerful female characters, working mothers (albeit hitwomen), and fierce fighters.  However, these women are united by their (one time) allegiance to Bill, who not entirely unlike a pimp sent his women out on dangerous jobs.  And as is all to often the case, these powerful women quickly turn on each other rather than uniting.

Although there is a great deal of violence against women in the film, women are never portrayed as simple victims.  Beatrix eventually overcomes all of the men (and women) who had hurt her, from a male nurse who molested and pimped her out when she was in a coma to Bill and his gang who destroyed her wedding and put her into the coma in the first place.  Combat scenes in the film are highly choreographed and as complex as dance, with women holding their own in battles against each other and men.  However, the film’s idealized fight scenes glorify the violence, not uncommon in the action genre.

It is refreshing to see powerful women on film, from Buffy to Beatrix, especially when the heroine comes out on top.  As empowering as it is, one has to wonder how a potentially feminist film could possibly be featured as part of a Spike TV marathon.  Could it be that such films might begin to change the macho/machismo action genre, or is it simply another example of women as objects in men’s entertainment?

Check out this awesome article at the Bitch magazine blog on whether or not Quentin Tarantino might be a feminist, and whether or not that matters.

“Bitch,” like it or not, is a complex word. It can function as a noun or an adjective, referring to or describing an outspoken, stubborn, and persistent woman, or it can function as a verb, the act of speaking up about something that rubs you the wrong way.

For over ten years, the pages of Bitch magazine have provided a forum for you-know-whos to you-know-what. BITCHfest: Ten Years of Cultural Criticism from the Pages of Bitch Magazine collects an assortment of feminist responses to topics from puberty to sex to homemaking to activism. It’s like the Whitman’s Sampler of feminist ideology!

BITCHfest is a great introduction to feminist thinkers. It’s clear throughout the volume that feminists are unashamed of their diversity: article after article provides a unique perspective on the messages that pop culture surrounds us with. One author defends Martha Stewart, another uses her as an example of housewifery on steroids; one author commends Buffy the Vampire Slayer for bringing a lesbian couple to the small screen, another scolds the series for an all-too-common ending to a same-sex romance.

The contributing authors, like the feminist community, are a diverse group of women from all walks of life – from different countries, ethnic backgrounds, sexual orientations, and generations – whose voices work together, even as their perspectives differ. Some essays will grab your attention, break your heart, spark your anger, or incite you to action. Others may drift in one ear and out the other, lull you into daydreams, or offend. The beauty of BITCHfest is that each essay is followed by another, and there is always a new perspective waiting just a page or two away.

Feminism has been criticized for not having a figurehead, a solitary leader to direct the movement. I would argue that this is one of the many strengths of the movement. Feminists are allowed to think for themselves, to differ from one another, to fight alongside each other and separately. BITCHfest and Bitch magazine provide a forum for these diverse voices to respond to culture, and even if the authors don’t win you over to their arguments, they are sure to get you thinking.

Visit these links to learn more about BITCHfest and Bitch magazine.