Latest news with #toxicmasculinity
Times
19-05-2025
- Politics
- Times
Marcus Brigstocke review — an engaging evening about toxic masculinity
The world is full of talk of 'toxic masculinity', and often for good reason. Not only does Marcus Brigstocke avoid using that one-size-fits-all phrase in this ambling yet fitfully acute look at the state of men today, he also tries to look for the upsides. Yes, Trump — one of several sharp impressions here — and Vance are poor adverts for the male of the species. And yes, men account for 96 per cent of the prison population. Yet the leading cause of death for men under 50, Brigstocke reminds us, is suicide. Something is awry. As the father of a three-year-old boy — he also has two grown-up children from his first marriage — Brigstocke has to look for better ways to be a
New York Times
14-05-2025
- Entertainment
- New York Times
In Dark Comedies Like ‘Friendship,' Bad Bromance Brews
'Men shouldn't have friends,' reads the provocative tagline of the uncomfortable new comedy 'Friendship' (in theaters), from the writer-director Andrew DeYoung. That tongue-in-cheek statement seems to respond to the deranged lengths Craig (Tim Robinson), a suburban father and husband trapped in a dull routine, will go to feel validated by his much-cooler neighbor, Austin (Paul Rudd). Even as bizarre as the pair's encounters become, an improbable but genuine loyalty develops between them in the end. But 'Pineapple Express' this is not. The last decade has seen several American indie tragicomedies that, like 'Friendship,' explore complicated platonic relationships between men with insight that the mainstream brom-coms that were hugely popular in the 2000s weren't interested in. These new films stir up a kind of bad bromance. Movies such as 'The Climb' (2020), 'Donald Cried' (2017) and 'On the Count of Three' (2022) interrogate toxic masculinity and approach the mechanics of male bonding with searing incisiveness, while still making time for laughs. In these stories, men grapple with regret, forgiveness and their darkest feelings as they relate to their best bros. And because of that, these indies work almost like an antithesis to a movie like 'I Love You, Man' (2009), which suggests that Paul Rudd's character, Peter, has lost touch with his primal manliness after spending too much time around women his whole life. Instead of intellectualizing his yearning for a close friend, Peter chooses to embrace the simple-minded pleasures of hanging out with his new rough-around-the-edges pal Sydney (Jason Segel). That he meets Sydney casually, rather than in one of the more formal 'man dates' he had planned, implies male connections operate on a more superficial level. In Hollywood movies like 'I Love You, Man,' 'The 40-Year-Old Virgin' and 'The Hangover,' the laughs often emerged from raunchiness, while in 'Friendship' and other indie bromances, humor is derived from absurdity but comes laced with introspection. It's telling that even when addressing men's desire for nonromantic companionship and intimacy, these neo-bromances resort to cringe-worthy humor. Like their more mainstream counterparts, their approach to fraternal love is not entirely solemn, sometimes poking fun at the prospect. One early scene in 'Friendship' shows Craig spending time with Austin and his larger group of buds. The men in this group appear in touch with their emotions. They are willing to share about their struggles and offer one other meaningful moral support. But this behavior seems foreign to Craig, who ultimately fumbles his chance at being accepted. Later, after Austin decides to break up their friendship, Craig invites his co-workers — men he barely knows or even likes — to his place for a drink and to show them his new drum set. His guests mock him and ignore his request that they don't spoil the latest superhero movie. That behavior reads more like the type of uncommitted and bullying-fueled depictions of platonic male connections onscreen. Here, however, the scene comments on how unfulfilling that interaction is for Craig, who reacts negatively to their cruel teasing by kicking them out. In tone, the closest cinematic cousin to 'Friendship' is Kris Avedisian's brilliantly offbeat 'Donald Cried' (available for rent on major platforms), in which Peter (Jesse Wakeman), a jaded banker, returns to his hometown and reconnects with his socially awkward but winsome high school friend, Donald (played by Avedisian), who has not left the place where they grew up. The reunion slowly reveals the difficult layers of their challenging past, with old wounds floating to the surface for them to either overcome or to never speak of again. In 'The Climb' (available for rent on major platforms), written by and starring the real-life best friends Michael Angelo Covino and Kyle Marvin, two men begrudgingly attempt to rebuild their friendship after one of them has an affair with the other's girlfriend. When tragedy strikes and destiny brings them back together, they must decide if there's still something between them worth preserving. As it wonderfully straddles laugh-out-loud bits with sorrowful pathos, 'The Climb' dissects the essence of why these two guys love each other even when it seems they shouldn't. The way they complement each other's brokenness only strengthens their bond. Taking the notion of a toxic friendship to its bleakest possible outcome, the comedian Jerrod Carmichael's underrated feature directing debut 'On the Count of Three' (streaming on Hulu), in which he stars alongside Christopher Abbott, deals with a suicide pact. Abbott's bleach-blond Kevin and Carmichael's Val are on a self-destructive journey tacitly encouraging each other's worst impulses against those who've hurt them. Despite the grim premise, the gallows humor peeks through thanks to the pair's affecting performances. This year alone, two more works join the ranks of these flawed bro bonds. In 'Eephus' (available for rent on major platforms), the filmmaker Carson Lund shows how the seemingly tenuous camaraderie between a group of men in a recreational baseball league packs profound gravitas. And then there's Joel Potrykus's unsettling 'Vulcanizadora' (in theaters), about two men (Potrykus and Joshua Burge) committed to a troubling joint mission in a forest. Their time together begins to drown them in guilt. Playing the same friend characters, the two appeared in Potrykus's mind-bending 2015 movie 'Buzzard' (streaming on Fawesome), which also fit this profile of doomed connections. Collectively, these bittersweet films (some more bitter than others) serve as a sort of corrective to the movies that previously brushed aside or stripped away the valuable intricacies of male friendships. That doesn't mean rowdy, physical comedy is completely out the window, but that now, if these friends get into a scuffle, the root of the conflict will be addressed before they hug it out. By exposing the ugly, sometimes tenderness can come to light.
The Guardian
10-05-2025
- Entertainment
- The Guardian
From The Wedding Banquet to Kylie Minogue: your complete entertainment guide for the week ahead
The Wedding BanquetOut now A remake of the 1993 film, director Andrew Ahn's romcom premiered at Sundance earlier this year, bringing together IVF, a green card marriage and a Korean wedding banquet for a comedy of errors starring Bowen Yang, Lily Gladstone and Kelly Marie Tran. RiefenstahlOut now Leni Riefenstahl is a rare female pioneer who is tough to celebrate. This documentary explores the question of whether the film-maker's notable work bigging up the Nazi regime ought to eclipse her flair for aesthetics. The SurferOut now We've had toxic masculinity and wrestling in The Iron Claw, toxic masculinity and tennis in Challengers, now it's toxic masculinity and surfing. Nicolas Cage stars as the man who returns to the fondly remembered beach of his childhood to surf with his son, only to find not everyone wants him to ride those waves. The Extraordinary Miss FlowerOut now From the talented film-making duo Iain Forsyth and Jane Pollard (who created the idiosyncratic portrayal of Nick Cave, 20,000 Days on Earth), this distinctive performance documentary offers an offbeat reconstruction of the eponymous Miss Flower, through love letters sent to her in the 1960s and 1970s. With music from Emilíana Torrini. Catherine Bray Snapped Ankles The Boileroom, Guildford, 10 May; touring to 17 May Inspired by everything from morris dancing to Fela Kuti via messy warehouse parties, London's artful post-punk rabble head out on tour in support of recent album, Hard Times Furious Dancing. CWith them camouflaged by their omnipresent ghillie suits, brace yourselves for a distinctly unique experience. MC Kylie Minogue16 May to 6 June; tour starts Glasgow The Lights Camera Action hit-maker arrives in the UK for her first tour of cavernous arenas in seven years. After returning to the Top 10 with 2023's viral phenomenon Padam Padam, expect a handful of dancefloor-focused newer songs alongside undeniable classics such as Confide in Me, Slow and Spinning Around. Michael Cragg Gregory PorterManchester, 10 May; Glasgow, 11 May; Newcastle upon Tyne, 12 May; Bournemouth, 14 May; Cardiff, 15 May If there can be such a thing as a jazz superstar, the Grammy-winning soul and gospel-rooted American singer unquestionably qualifies. Porter's soaring baritone voice and deep absorption in African American musics are combined with an idiomatic openness that has brought him worldwide fans crossing generations and tastes. John Fordham Jörg Widmann BBC Hoddinott Hall, Cardiff, 15 May Composer-conductor-clarinettist Jörg Widmann combines two of those roles as a guest with the BBC National Orchestra of Wales. On the podium, he begins the concert with the overture to Mozart's Marriage of Figaro, and ends it with Mendelssohn's Fifth Symphony, the Reformation, while in between he conducts the UK premiere of his Violin Concerto No 2, in which his sister, Carolin Widmann, will be the soloist. Andrew Clements The Way Forward Gazelli Art House, London, to 28 June A look back at tomorrow: that is, at the art of the 1960s with its optimistic belief that new freedoms were opening up in a world just getting better and better. The late Derek Boshier stars along with his contemporaries Peter Blake, David Hockney, Pauline Boty, Allen Jones and more. C C Land: The Wonder of ArtThe National Gallery, London, opens 10 May Controversially sponsored by Chinese property firm C C Land, this is the full title given to the National Gallery's new permanent displays, rethought, rehung, but hopefully still as complex and coherent as ever. There truly is plenty of wonder in a free collection that includes Leonardo da Vinci, Caravaggio, Artemisia Gentileschi and Van Gogh. A chance to discover great art's joy. To Improvise a MountainLeeds Art Gallery, 16 May to 5 October Painter Lynette Yiadom-Boakye curates an exhibition that explores the influences and inspirations behind her literate, haunting work. She creates portraits and narrative scenes featuring highly realistic but fictional characters. Her affinities turn out to be as mysterious as these images, from Bas Jan Ader to Walter Sickert to Miles Davis. Austen and Turner: A Country House EncounterHarewood House, to 19 October Two people with their faces on banknotes and big birthdays this year meet in the inevitable setting of an English country house. Jane Austen and JMW Turner were both born 250 years ago – but what else do they have in common? More than you might think, this show suggests. Jonathan Jones Soho Theatre Walthamstow This 1,000-seater north-east London outpost of the capital's premier comedy hub has finally had its grand opening – and the lineup for month one is fittingly magnificent, with shows from Dara Ó Briain, Edinburgh prize winner Ahir Shah and US alt king John Early, plus a mixed bill featuring Sara Pascoe, Tom Davis and John Kearns. Rachel Aroesti Dance International GlasgowVarious venues, to 24 May This year's DIG festival features an eclectic range of artists, from a rare appearance (in a talk and workshop) by the illustrious Michael Clark, to of-the-moment Scottish artists (Mele Broomes, Colette Sadler) and international performers (QDance from Nigeria, Omar Rajeh from Lebanon). There are film and family programmes, too. Lyndsey Winship PositiveSouthwark Playhouse, London, 13 to 17 May Malachai is coming out of a toxic relationship. Ade is secretly in love with Malachai. Shortlisted for multiple awards, Temi Majekodunmi's play challenges perceptions of HIV. Robert Awosusi directs this tender depiction of Black gay brotherhood. Kate Wyver Dogs on the MetroLive theatre, Newcastle upon Tyne, to 17 May Emilie Robson's people-watching adventure won the inaugural North East Playwriting award. Written in geordie dialect, it takes a seat with Jen and Dean on the Metro as they hurtle through shared memories. Responding to lost youth, with themes of consent and sexual violence, this is for ages 14+. KW Sign up to Inside Saturday The only way to get a look behind the scenes of the Saturday magazine. Sign up to get the inside story from our top writers as well as all the must-read articles and columns, delivered to your inbox every weekend. after newsletter promotion MurderbotApple TV+, 16 May AI gaining autonomy is not quite the nightmare it could be in this irreverent thriller, adapted from Martha Wells's award-winning sci-fi novel series. A cyborg security guard (Alexander Skarsgård) hacks its own programming – but despite being unimpressed by humanity, this bot is more into introspection and trashy soaps than violent extermination. OvercompensatingPrime Video, 15 May Benito Skinner's cheeky celebrity impersonations (the Kardashians, Timothée Chalamet) went viral during the pandemic; now the Instagram star is pursuing a more traditional comic trajectory with this new college-set series about a jock struggling to come out as gay. Kyle MacLachlan and Connie Britton co-star; Charli xcx cameos. Alison Hammond's Big WeekendBBC One & iPlayer, 16 May, 8.30pm Between stale chatshows and podcast domination, the celebrity TV interview isn't thriving at present – can Hammond change that? In this new series, the exuberant presenter spends 48 hours with a star (the lineup includes Lenny Henry, Mel B and Jimmy Carr), for an undoubtedly uproarious – and potentially exposing – chronicle of their weekend together. Inside Our ADHD MindsBBC Two & iPlayer, 12 May, 9pm In 2023, Chris Packham, who is himself autistic, presented an evocative, experimental documentary that attempted to capture the mindsets of a variety of autistic people on screen. Now, the presenter is using this approach to explore the ways in which ADHD and dyslexia can shape our perception of the world. RA Doom: The Dark AgesOut 15 May, Xbox Series X/S, PS5, PC The blood-splattered veteran of the first-person shooter scene returns, this time in a prequel (above) to the 2016 reimagining of Doom. Main character Doom Slayer has been trapped in an ancient realm of castles and dragons and must batter his way out. With an emphasis on melee combat, it's an intriguing break from the game's bullet-riddled history. Capcom Fighting Collection 216 May, PlayStation, Switch, Xbox, PC A second compilation of Capcom fighting classics, this time taking in the glory years of 1998-2004 including the groundbreaking Capcom v SNK titles, which brought the two titans of the fight game together. Also here are the excellent Sega Dreamcast arena-based brawlers PowerStone 1 and 2. Keith Stuart Kali Uchis – Sincerely Out now The Grammy-winning US singer-songwriter follows up last year's Spanish-language album, Orquídeas, with an album that attempts to distill the 'complexities of life'. The beautiful, Lana Del Rey-esque ILYSMIH tries to find joy in love, but it's Sunshine & Rain that better encapsulates the ups and downs of it all. Mark Pritchard & Thom Yorke – Tall TalesOut now Electronic music pioneer Pritchard – who previously remixed Radiohead's Bloom in 2011 – teams up with the band's frontman, Thom Yorke, on this new collaborative album. The slippery Gangsters manipulates Yorke's weary croon to sinister effect, while Back in the Game chugs along merrily before slowly disintegrating. PinkPantheress – Fancy ThatOut now After landing a UK and US Top 3 single with Boy's a Liar, pop experimentalist PinkPantheress's debut album, Heaven Knows, felt like a minor letdown. This playful new mixtape – featuring the likes of the Dare, and samples of songs by Basement Jaxx and Jessica Simpson – arrives with less pressure. Sleep Token – Even in ArcadiaOut now This follow-up to the UK No 3 hit Take Me Back to Eden finds the British mask enthusiasts continuing to explore rock's potential. After months of teasing via clues, codes and even a collaboration with a US weather channel, Even in Arcadia is finally ready to be immersed in. MC What We SpendPodcast Hearing from people across the US and throughout the economic spectrum, this fascinating series provides an insight into a typical week's spending for everyone from a retired social worker to the parent of a toddler. & Vimeo Film-maker Miles Blacket's short exploring the reality of domestic slavery in the UK is a confronting watch. We follow two Filipina women who have survived trafficking and are now determined to help their tight-knit community. Unforgotten: The Bradford City FireBBC Two, 11 May, 9pm Commemorating the 40th anniversary of the devastating fire at the Valley Parade football stadium that killed 56 people, this poignant film speaks to survivors and explores the effect the tragedy has had on safety at football matches. Ammar Kalia
Yahoo
09-05-2025
- Entertainment
- Yahoo
Softbois explained: The messy dating archetype hiding behind emotional depth
They read Nietzsche (or at least the Wikipedia summary), know how to s 'feminism' in a sentence, and think that playing you a Phoebe Bridgers song counts as vulnerability. Welcome to the world of softbois. Softbois (sometimes spelled 'soft boy') are a slippery dating archetype. They're emotional, poetic, deeply into their curated Letterboxd accounts, and often deeply full of it. At first glance, they're the antidote to toxic masculinity: emotionally intelligent, progressive, and interested in connection. But spend a little more time with them, and you may start to notice performative empathy, sudden ghosting, and low-key negging wrapped in Radiohead lyrics. If you've ever left a situationship feeling like you were emotionally gaslit by a man in a turtleneck who drinks oat milk and owns a copy of Norwegian Wood, chances are, you've met a softboi. But what actually defines a softboi? Where did the term come from? And how do you spot one before you get caught in their web of pseudo-enlightened sadboi energy? We talked to experts—and combed through years of cultural receipts—to break it down. - Yuri A./Shutterstock According to Iona David, the creator of the wildly popular Instagram account @beam_me_up_softboi and author of Is This Love or Dopamine?, a softboi is hard to define but extremely easy to spot. They use emotional intelligence, cultural depth, and a carefully curated taste in music, books, and aesthetics to distinguish themselves from so-called basic guys. Think of him as the romantic evolution of the hipster. He knows about feelings. He'll talk about his therapist. He's 'not into hookup culture'—but somehow you're still crying on a Tuesday morning because he said you were 'too intense' after three months of texting daily. everst/Shutterstock At first glance, softbois might look like a better, safer option than the traditional 'f*ckboy.' But that's part of the trap. 'A softboi is characterized by being emotionally connected, often politically correct, being interested in culture, and wanting to come off as intellectual,' says Sofie Roos, a licensed sexologist and relationship therapist for Passionerad. 'They give off the vibe of being empathic and deep—even though many times, they're calculating, doing it to create a bond, a feeling of safety, and 'realness' to get someone more into them.' Nice guys, Roos says, also try to present themselves as a better alternative to other men, but tend to emphasize stability and sweetness, contrasting themselves with 'bad boys.' F*ckboys, meanwhile, rely on overt charm and sex appeal to get what they want and bounce. Softbois are sneakier. They're the ones who send you long voice notes about intimacy and connection, then vanish the moment you say you want something serious. Roman Samborskyi/Shutterstock The term 'softboi' may have entered popular use in the late 2010s thanks to Twitter and Tumblr, but The Guardian traced its modern rise to David's now-iconic Instagram account in 2018. Since then, the look and feel of a softboi has become instantly recognizable: thrifted tees, wireframe glasses, deeply niche music references (bonus points if they accuse you of being a fake fan), and a constant need to be understood. Softbois don't always say 'I'm different,' but they want you to know they are. They romanticize mental illness. They treat literature like foreplay. They ghost you but still watch every Instagram story. They send messages like, 'You remind me of a Sylvia Plath poem,' and then ask if you're 'emotionally mature enough to handle them.' There's also a spectrum: some softbois are harmless, even endearing. Others weaponize their wokeness to manipulate partners into emotional or sexual vulnerability. David calls these types 'self-awareness-as-a-weapon softbois'—men who know they're a walking red flag, but lean into it like it's hot. Dani D.G/Shutterstock Even though the archetype is most often tied to cishet men, softboi behavior doesn't stop at the binary. In queer spaces, the softboi dynamic can be just as common—and sometimes even more challenging to navigate. Because queer folks are often looking for emotional safety, softbois can feel especially alluring. They give the illusion of a deep connection and shared values, which can make it harder to identify when the relationship becomes manipulative. "A person that's a victim to a softboi that uses this stereotype knowingly to manipulate and trick them into something that feels genuine and safe to get sex, closeness or something else from their date can get quite hurt emotionally, leaving feelings of being used, hurt and humiliated," says Roos. This can lead to trust issues "when it's difficult to open up again, and/or to know if the person you get shown actually is the real person." This is especially true for those who've experienced emotional invalidation in the past. A softboi can feel like a revelation until they start to guilt-trip you for wanting clarity, use their feelings to override yours, or disappear without a word the moment you assert a boundary. Eugenio Marongiu Not every guy who listens to Mitski or has a dog-eared copy of The Bell Jar is a walking red flag. Some softbois are just soft—and that's okay. Understanding if it's genuine or character play, Roos says, is tricky, 'because the fake ones playing a role are often so good at it that you won't notice until it's too late and you're already hurt.' That said, a 'real' softboi won't tick too many of the stereotypical softboi boxes 'in a way that feels too cliché or consciously done,' Roos explains. Softbois can evolve. Some grow up. Some don't. Your job isn't to fix them—it's to protect your peace. Juan Pablo Olaya Celis/Shutterstock Ask yourself: Do they constantly talk about being 'different from other guys'? Do they rant about hookup culture but still breadcrumb you? Do they say 'I'm not emotionally available' while still seeking intimacy? Do they use poetry and emotional intelligence like a weapon? If the answer to more than two of those is 'yes,' you might be dating a softboi. And if that's the case, we suggest this highly advanced coping strategy: Block. Delete. And go make out with someone who listens when you talk.
ABC News
09-05-2025
- Entertainment
- ABC News
Teens divided over showing Netflix series Adolescence in schools
It's a show about adolescents and it has got the adults talking or, shall we say, frightened. Netflix's British drama about a 13-year-old boy accused of murdering a female classmate has experts weighing in with advice for parents. Prime Minister Anthony Albanese has suggested schools show their students the series, which focuses on toxic masculinity, loneliness and the gender divide. It's something British Prime Minister Keir Starmer has already backed in the UK. But what do young people think about it? Should it be used as an educational tool in schools, or are there other ways to get the message across? Ella, 18, says the series, though fictional, is very "confronting" and could shock younger teens. "I feel like there's an age that you should be showing that," she says. However, Emily, 16, believes in the old "show, don't tell" adage. She says when the show first came out, it quickly became a conversation starter. "It was definitely a lot of talk in my school with all my friends," Emily says. "Have you watched this? Have you not? Yeah, a lot on TikTok as well. "When I hear that someone hasn't watched it, I'm really surprised." She says conversations have their place but nothing is as powerful as seeing the effects of misogyny. "Showing is different, visualising it, actually seeing the impacts and violence and all of that," Emily says. Imogen, 18, is also in the "show-it-in-schools camp". "It's very educational," she says. "It just shows how it is really like. It's … scary. It's like real life. It happens." But there are some teens like Beau, 15, who think the show is too "dramatic" and their parents are taking it too seriously. "They have seen it. Mum started saying stuff about the show and I can kind of see where she's coming from," he says. "But I feel like the parents think about it a lot deeper than [it] actually is, and they take every meaning, every small thing in the show to heart." He says though the show is trying to educate parents about cyberbullying and the online world that teens inhabit, the series has made it out to be "a lot deeper than it should be". "I think it's a lot more dramatic than it is," Beau says. "I don't think it should be shown in schools because it's not really too accurate. I don't see [much] of that stuff happening in schools." The show, which gives insight to adults about the world of young people and online misogyny, is certainly popular. According to Netflix, it has clocked more than 124 million views. Child and adolescent psychologist Deirdre Brandner says it is important to remember that Adolescence is aimed at adults and is not a "teaching tool". "This was a series made by Netflix to entertain adults," Ms Brander says. "It wasn't a documentary series. It's not a learning series. It's not a teaching series. "So there's a real danger in, yet again, asking our schools to take on responsibilities that they shouldn't have to." Tom Harkin, co-founder and creative director of men's mental health service Tomorrow Man, agrees. "As a standalone educational tool, no, I don't think it should be shown," he says. Mr Harkin says some of the content would be challenging to watch in a classroom environment. "I think taking the show as it is and watching all four episodes could be a dangerous one," he says. "[Especially] if teachers are showing this within classrooms and they're not being equipped to understand the depth of the themes or the vicarious trauma that could be caused within the room." Regardless of whether it is appropriate for classrooms or not, most agree the show can be a way to launch tricky conversations and bridge age and gender gaps. Child psychologist Deirdre Brandner says parents lack insight into the online space, the natural habitat of the young. She says that can be a barrier to open and honest discussions. "Us parents, us oldies, did not grow up in the digital age … so we don't understand what's happening," Ms Brandner says. Mr Harkin runs workshops with young people focusing on breaking down harmful gender stereotypes. He says the lack of understanding between the genders also needs to be addressed. "That's something that we should be paying attention to," Mr Harkin says. "Why is it so shocking for adults to be hearing and seeing this and, yet, young people are kind of going, 'Yeah, that's the world that I am kind of in. They are the kind of themes that are going on', and obviously being impacted by them." Mr Harkin says there is an "empathy gap" between the genders. "We need to bridge the gender divide," he says. "The disconnect between each other, it's going to have more really poor outcomes that I think we're all going to shed tears over. "And it's not going to go away because Adolescence or the latest news piece falls out of the cycle." Michael, 18, says he doesn't believe movies or TV shows are the right format to discuss topics like misogyny. "But we should definitely be learning these things like we do about other stuff, like consent," he says. "Because it is quite important." Bella, 16, says it is not about dictating to men what to do but about teaching respect. "I am not saying to the males: 'You do that, you do this,'" she says. For Ella, discussions about the themes of violence and misogyny need to happen sooner rather than later. "I think it is really important that it is taught early on," she says. "That you are okay to talk and to have a meaningful, emotional kind of relationship with people around you."
