On Sunday night at the Golden Globe Awards, Meryl Streep went after President-elect Donald Trump. In an eloquent speech in which she didn’t even mention his name, Streep made her dismay at his meteoric political rise clear, saying:

There was one performance this year that stunned me. It sank its hooks in my heart. Not because it was good. There was nothing good about it. But it was effective and it did its job. It made its intended audience laugh and show their teeth. It was that moment when the person asking to sit in the most respected seat in our country imitated a disabled reporter, someone he outranked in privilege, power, and the capacity to fight back. It kind of broke my heart when I saw it. I still can’t get it out of my head because it wasn’t in a movie. It was real life.

And this instinct to humiliate, when it’s modeled by someone in the public platform, by someone powerful, it filters down into everybody’s life, because it kind of gives permission for other people to do the same thing. Disrespect invites disrespect. Violence incites violence. When the powerful use their position to bully others, we all lose.

Streep’s speech–love it or hate–caught Trump’s attention. And as is his nature, he tweeted about it.

Meryl Streep, one of the most over-rated actresses in Hollywood, doesn’t know me but attacked last night at the Golden Globes. She is a…..

— Donald J. Trump (@realDonaldTrump) January 9, 2017

Hillary flunky who lost big. For the 100th time, I never “mocked” a disabled reporter (would never do that) but simply showed him…….

— Donald J. Trump (@realDonaldTrump) January 9, 2017

“groveling” when he totally changed a 16 year old story that he had written in order to make me look bad. Just more very dishonest media!

— Donald J. Trump (@realDonaldTrump) January 9, 2017

But Streep is as beloved as Trump is orange, and so a lot of supporters on Twitter decided to point out some other things that Trump thinks are “overrated.” Here are some of the best tweets from the hashtag #ThingsTrumpThinksAreOverrated.

#ThingsTrumpThinksAreOverrated:
First Amendment
Morality
The Pope
Patriotism
Beyonce
Facts
Hamilton
Paying taxes
POWs
Obama
Integrity

— Shannon Watts (@shannonrwatts) January 9, 2017

Anneliese Mahoney

Anneliese Mahoney is Managing Editor at Law Street and a Connecticut transplant to Washington D.C. She has a Bachelor’s degree in International Affairs from the George Washington University, and a passion for law, politics, and social issues. Contact Anneliese at amahoney@LawStreetMedia.com.

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Emma Donoghue‘s novel “Room,” and subsequent movie of the same name, is allegedly inspired by real-life criminal Josef Fritzl, who imprisoned and raped his daughter, Elisabeth Fritzl, for twenty-four years. The novel and movie feature Ma and her son Jack as prisoners of Old Nick–Ma’s kidnapper and rapist. When Jack turns five, Ma executes a successful escape plan.

A 2010 article written by Sarah Crown, and published on The Guardian’s website, quotes Donoghue as saying her book was not based on the Fritzl case but, rather, “triggered” by it. Similarly to Ma, Elisabeth Fritzl was imprisoned, raped, and impregnated. The major differences include:

• Fritzl’s captor and rapist was her father.
• Fritzl was imprisoned for 24 years.
• Fritzl’s prison was in her home’s cellar–Ma’s prison was in a garden shed.
• Fritzl had multiple children in her prison while Ma raised one child.

People accused Donoghue of taking advantage of the shocking case for self-gain in the form of a book deal. Donoghue states she did not intend this and views the book, partly, as a reflection on the complexities of parenthood.

Since the trial, Elisabeth Fritzl and her family withdrew from society, adopted new identities, and began “anonymous” lives. So, it’s hard to imagine she is glad that her story has regained notoriety with the film’s creation and award nominations.

But when “fiction” lives so close to reality, it’s not strange to wonder: did the film and the book need to purchase Elisabeth Fritzl’s life story rights? Seemingly not, as most courts recognize that there is a difference between retelling a true story and being inspired by one to create a work of fiction. There are significant differences between Donoghue’s stories and the real crimes, therefore it is not viewed as a true depiction of the Fritzl case.

While the use of Elisabeth Fritzl’s trauma as literary and cinematic inspiration may feel distasteful to some, Donoghue’s works do not use the crime’s details for shock factor, but rather as a way to explore how strength and family function. In fact, the most gripping part of Donoghue’s screenplay is the intelligence and resilience of major, and minor, female characters. For example, how a woman could endure a constant trauma for seven years and raise a son, without breaking down mentally is unimaginable even when it is performed in front of you. What motivated Ma to maintain a daily routine for Jack? Perhaps the love and sense of responsibility she had for her son surpassed the atrocities she endured. Or perhaps it was the hope she would one day see her mother and father again and return to her childhood home, which she describes to Jack in an attempt to explain the outside world to him.

Another extraordinary woman appears in the female police officer who responds to the 911 call when Jack escapes. While she only emerges in one scene, her ability is striking. She patiently questions Jack in an attempt to learn his story. While gentle in tone and manner with Jack, she does not back off from her questions when he refuses to speak. Instead she pushes him to give her all the information he can. The male officer, her partner, only gets in her way, telling her she won’t get anything out of the boy and to give him time. But she ignores the other officer and from Jack’s disjointed tale of escape is able to deduce the location of Jack’s prison and rescue Ma quickly. Her part may have been meant to move the plot along rather than to applaud women who excel at their jobs, but, still, her heroism is lasting.

Despite privacy concerns, the story of “Room” remains important. It’s important that two such heroic, female characters exist as recognitions of real, strong women and as role models for every person. And finally, it’s important that this story features women doing the saving rather than being saved.

Ruby Hutson-Ellenberg

Ruby Hutson-Ellenberg is a 2016 Hunter College graduate, where she majored in English with a concentration in Creative Writing. As a native New Yorker, Ruby loves going to the theater and writing plays, which have been particularly well received by her parents. Contact Ruby at staff@LawStreetMedia.com

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Now that awards season is officially in full swing, it means that red carpet season is upon us as well. And as we watch the red carpet coverage there seems to be only one question that reporters are interested in asking female attendees: Who are you wearing?

This year, The Representation Project launched a campaign promoting the hashtag #AskHerMore. The idea is for red carpet reporters to ask female actors and entertainers about anything other than their appearance.

The whole reason I write here on Law Street is because I am in fact a woman who is interested in business, politics, and law (and yes I do identify as the “F-word”). But I’m a little different from most of the other Law Street ladies (and men), because I work in the fashion industry as well. While many might argue that law and fashion are like apples and oranges, my career is focused around fighting against that notion. That said, can #AskHerMore and the fashion industry exist in solidarity? Absolutely, but allow me explain why.

The main reason most attend a red carpet event is that their work is nominated or because they are being celebrated in some shape or form that evening. While reporters may want to ask first-time nominees what it feels like to be recognized, they’re not going to ask someone like Meryl Streep the same questions for the umpteenth time. Asking what they’re wearing can serve as a sort of ice-breaker for any nominee. I’m not so sure, however, that “What are you wearing?” should be the only question women or men on the red carpet are asked.

Also, the fashion and entertainment industries are both based on artistic forms of expression. You can’t really have one without the other (Ahem, best costume design award?). But you also can’t have art without politics either. In fact, the reason behind a given celebrity wearing a certain designer is strictly business. These celebs have contracts with fashion houses that require them to wear designs that are meticulously picked out and designed for a given public appearance. In turn, these designers get calls from clients the second the celeb reveals to the reporter what he or she is wearing.

That’s not to say, however, that even celebrities aren’t fed up with being asked about their appearance. Last month during the Golden Globes, several celebrities chose to pass on partaking in E! News’s “mani-cam.”

While I don’t think there’s anything wrong with reporters asking celebs what they’re wearing, the idea behind #askhermore is that it shouldn’t be the only thing they’re asking. But what else are they supposed to ask in the few seconds that they have to interview them? I’m not sure. If it were up to me, I would just get rid of E! News’ red carpet coverage altogether. It all gets covered online anyway. That way we can focus on the actual show and honoring these women for their work, while still preserving the Old Hollywood tradition or seeing celebs all dolled up in their best evening wear.

Katherine Fabian

Katherine Fabian is a recent graduate of Fordham University’s College at Lincoln Center. She is a freelance writer and yoga teacher who hopes to one day practice fashion law and defend the intellectual property rights of designers. Contact Katherine at staff@LawStreetMedia.com.

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Awards shows usually operate as a superficial yet entertaining public relations platform. Events range from the fashionably clad stars’ “who are you wearing” banter on the red carpet, to the 30-second movie clips dispersed throughout the show highlighting what movies you “should be watching.” Last night’s 72^nd Annual Golden Globes Awards, however, shocked us by getting pretty political.

With all that’s been happening in the news recently involving attacks on media, from the Charlie Hebdo shooting to the Sony Pictures hack, Hollywood had a lot to say in defense of the First Amendment. The tone of the show was set in motion by a 10-minute opening monologue from the always-hilarious comedy duo Tina Fey and Amy Poehler, who hosted the Globes for their third consecutive and final year. Fey started off:

Tonight we celebrate all the great television shows that we know and love, as well as all the movies that North Korea was ok with.

The Golden Globes, judged by the Hollywood Foreign Press Association (HFPA), didn’t just use the monologue to mock North Korea. Actress and comedian Margaret Cho, dressed as a pale-faced North Korean general and new HFPA member, posed for an awkward selfie with Meryl Streep and joined Fey and Poehler on stage.

Cho, a Korean-American, is no stranger to controversial roles. She dressed as former North Korean leader Kim Jong-Il on NBC’s “30 Rock,” for which she was nominated for a Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series. I guess critics didn’t find the same pale-faced broken-English impersonation as funny this time, taking to Twitter to call it racist. A debate quickly ensued, with some finding it highly offensive, while others defended it as comedic satire. Was her acting offensive? It was definitely stereotypical and dragged on for far too long, but personally I didn’t find it any more offensive than those parodies shown in “The Interview,” which has reportedly been downloaded or rented more than 4.3 million times online since its Christmas debut.

why is Margaret Cho doing this weird…uncomfortable…racist caricature thing; can this not be a thing

— Lindsay Crockett (@lindsaymcroc) January 12, 2015

Chill on Cho, twitterverse. Her NK satire was brilliant. Not racist. Jennifer Lopez tried to steal @goldenglobes But @margaretcho did.

— Emil Guillermo (@emilamok) January 12, 2015

Nothing was off limits for Fey and Poehler, including rape jokes when they transitioned into Pudding Pop-like impersonations of accused sitcom star Bill Cosby. “I put the pills in the people,” impersonated Fey, “The people did not want the pills in them!”

The Bill Cosby jokes didn’t stop there. When talking about new movie musical “Into the Woods” Poehler joked:

Cinderella ran away from her prince, Rapunzel was thrown from a tower . . . and Sleeping Beauty just thought she was getting coffee with Bill Cosby.

Too soon? After I’d picked my chin up off the floor, I registered just how ballsy the night was getting in terms of comedy risks.

On a more serious note, HFPA President Theo Kingman gave an inspiring mid-show speech reminding the crowd of the Charlie Hebdo terrorist attack in Paris. His words were met with a standing ovation from the entire crowd. His speech included:

As international journalists we also understand the importance of freedom of expression, as not only an integral part of the American fabric, but a beacon that is reflected across the globe. Together, we will stand united against anyone who would repress free speech, anywhere from North Korea to Paris.

Rapper Common also shared some uplifting words in his acceptance speech for best original song in a motion picture for his and John Legend’s work in the civil rights drama “Selma.” His words were met with tears from the film’s producer Oprah. Common stated:

As I got to know the people of the civil rights movement, I realized, I am the hopeful black woman who was denied her right to vote. I am the caring white supporter killed on the front lines of freedom. I am the unarmed black kid who maybe needed a hand but instead was given a bullet. I am the two fallen police officers murdered in the line of duty.

Overall, the playful parodies of some current hot button issues upstaged big winners like “Boyhood” and “The Grand Budapest Hotel,” livening up the relatively boring telecast. The comedy teetered the line of what is offensive, without truly crossing it, and showed that Hollywood still has a sense of humor after an embarrassing and arduous few months.

Alexis Evans

Alexis Evans is an Assistant Editor at Law Street and a Buckeye State native. She has a Bachelor’s Degree in Journalism and a minor in Business from Ohio University. Contact Alexis at aevans@LawStreetMedia.com.

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