Filmmaker Ken Burns Urges Stanford Graduates to Defeat Trump & the Retrograde Forces Threatening the U.S.

This time of year, we see grad­u­a­tion speech­es pop­ping up all over the web. The com­mence­ment address as a genre focus­es on the oppor­tu­ni­ties, chal­lenges, and respon­si­bil­i­ties grad­u­ates will face post-col­lege, and often espous­es time­less life lessons and philoso­phies. But this year, as you may have seen, esteemed doc­u­men­tary film­mak­er Ken Burns took the oppor­tu­ni­ty of his grad­u­a­tion speech, pre­sent­ed to the 2016 class at Stan­ford Uni­ver­si­ty, to address the timeli­est of issues: the upcom­ing pres­i­den­tial elec­tion and the threat of “an incip­i­ent pro­to-fas­cism.” The grad­u­a­tion just hap­pened to fall on the same day as the dead­liest mass-shoot­ing in recent Amer­i­can his­to­ry.

Vot­ers are angry at the sys­tem, we’re told again and again, and frankly the over­whelm­ing major­i­ty of us have every rea­son to be. But anger can be intox­i­cat­ing, and the seg­ment of the elec­torate that car­ried Don­ald Trump to pow­er seems drunk with rage and hos­til­i­ty. The promise of Trump­ism puts me in mind of his­to­ri­an and crit­ic Richard Slotkin’s clas­sic study of U.S. mythol­o­gy, Regen­er­a­tion Through Vio­lence, which describes the nation’s com­pul­sion to purge the coun­try of threat­en­ing oth­ers in order to restore some myth of lost inno­cence. “I will give you every­thing, I’m the only one,” the can­di­date vows, while scape­goat­ing group after group for the coun­try’s prob­lems.

In his Stan­ford com­mence­ment speech on Sun­day, Burns decried “the dic­ta­to­r­i­al ten­den­cies of the can­di­date with zero expe­ri­ence in the much maligned but sub­tle art of gov­er­nance; who is against lots of things, but doesn’t seem to be for any­thing, offer­ing only bom­bas­tic and con­tra­dic­to­ry promis­es and ter­ri­fy­ing Orwellian state­ments.” The Repub­li­can can­di­date for pres­i­dent is “a per­son,” Burns said in his impas­sioned speech, “who eas­i­ly lies, cre­at­ing an envi­ron­ment where truth doesn’t seem to mat­ter.”

As a stu­dent of his­to­ry, I rec­og­nize this type. He emerges every­where and in all eras. We see nur­tured in his cam­paign an incip­i­ent pro­to-fas­cism, a nativist anti-immi­grant Know Noth­ing-ism, a dis­re­spect for the judi­cia­ry, the prospect of women los­ing author­i­ty over their own bod­ies, African-Amer­i­cans again asked to go to the back of the line, vot­er sup­pres­sion glee­ful­ly pro­mot­ed, jin­go­is­tic saber-rat­tling, a total lack of his­tor­i­cal aware­ness, a polit­i­cal para­noia that, pre­dictably, points fin­gers, always mak­ing the oth­er wrong. These are all vir­u­lent strains that have at times infect­ed us in the past. But they now loom in front of us again — all hap­pen­ing at once. We know from our his­to­ry books that these are the dis­eases of ancient and now fall­en empires. The sense of com­mon­wealth, of shared sac­ri­fice, of trust, so much a part of Amer­i­can life, is erod­ing fast, spurred along and ampli­fied by an amoral inter­net that per­mits a lie to cir­cle the globe three times before the truth can get start­ed.

We no longer have the lux­u­ry of neu­tral­i­ty or “bal­ance,” or even of bemused dis­dain. Many of our media insti­tu­tions have large­ly failed to expose this char­la­tan, torn between a nag­ging respon­si­bil­i­ty to good jour­nal­ism and the big rat­ings a media cir­cus always deliv­ers. In fact, they have giv­en him the abun­dant air­time he so des­per­ate­ly craves, so much so that it has actu­al­ly worn down our nat­ur­al human revul­sion to this kind of behav­ior. Hey, he’s rich; he must be doing some­thing right. He is not. Edward R. Mur­row would have exposed this naked emper­or months ago. He is an insult to our his­to­ry. Do not be deceived by his momen­tary “good behav­ior.” It is only a spoiled, mis­be­hav­ing child hop­ing some­how to still have dessert.

And do not think that the tragedy in Orlan­do under­scores his points. It does not. We must “dis­en­thrall our­selves,” as Abra­ham Lin­coln said, from the cul­ture of vio­lence and guns. And then “we shall save our coun­try.”

The words of Lin­coln that Burns quotes come from the president’s annu­al remarks to con­gress in 1862, in which Lin­coln made the case for the Eman­ci­pa­tion Procla­ma­tion, one month before sign­ing it. (A doc­u­ment, iron­i­cal­ly, that Slotkin says “rad­i­cal­ly expand­ed the exist­ing pow­ers of the pres­i­den­cy” in its pur­suit of a just cause.) In his address, Lin­coln makes a force­ful moral argu­ment, all the more elo­quent for its char­ac­ter­is­tic brevi­ty.

Fel­low-cit­i­zens, we can­not escape his­to­ry. We of this Con­gress and this admin­is­tra­tion, will be remem­bered in spite of our­selves. No per­son­al sig­nif­i­cance, or insignif­i­cance, can spare one or anoth­er of us.

Like­wise, Burns—addressing future lead­ers at an elite institution—makes his case for heed­ing the lessons of his­to­ry, con­sid­er­ing pos­ter­i­ty, and reject­ing Trump, inde­pen­dent of par­ti­san inter­ests: “This is not a lib­er­al or con­ser­v­a­tive issue, a red state-blue state divide. This is an Amer­i­can issue.” He also implores “those ‘Vichy Repub­li­cans’ who have endorsed him to please, please recon­sid­er.” The hor­rif­ic mass mur­der in Orlan­do has fur­ther inflamed what Burns calls “the trou­bling, unfil­tered Tourette’s of [Trump’s] tribalism”—with renewed calls for bans on all Mus­lims, more inflam­ma­to­ry insin­u­a­tions that the pres­i­dent col­ludes with ter­ror­ists, and bizarre alle­ga­tions that a Clin­ton aide is a Sau­di agent.

Trump did not invent this rhetoric of big­otry, con­spir­a­cy, and para­noia, but he has manip­u­lat­ed and exploit­ed it more effec­tive­ly than any­one else, to poten­tial­ly dis­as­trous effect. “The next few months of your ‘com­mence­ment,’ ” Burns says, “that is to say, your future, will be crit­i­cal to the sur­vival of our repub­lic.” He urges the grad­u­at­ing Stan­ford class to take action: “before you do any­thing with your well-earned degree, you must do every­thing you can to defeat the ret­ro­grade forces that have invad­ed our demo­c­ra­t­ic process.” Those process­es may already be deeply com­pro­mised by mon­eyed inter­ests, but destroy­ing the edi­fice on which they’re built, Burns sug­gests, will hard­ly restore any sup­pos­ed­ly lost “great­ness.” Watch Burns’ full com­mence­ment speech above.

Relat­ed Con­tent:

Ken Burns on the Art of Sto­ry­telling: “It’s Lying Twen­ty-Four Times a Sec­ond”

Noam Chom­sky on Whether the Rise of Trump Resem­bles the Rise of Fas­cism in 1930s Ger­many

Prince­ton His­to­ri­an Sean Wilentz on How Trump May Change (If Not Destroy) the GOP

J.K. Rowl­ing Defends Don­ald Trump’s Right to Be “Offen­sive and Big­ot­ed”

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Harvard Dean Lists the 5 Essential Questions to Ask In Life … Which Will Bring You Happiness & Success

And now for a dif­fer­ent kind of grad­u­a­tion speech.

Most com­mence­ment speech­es pro­vide answers of sorts–pieces of wis­dom you can car­ry with you, life strate­gies you can use down the road. Above James Ryan, Dean of Har­vard’s School of Edu­ca­tion, offers some­thing else–not answers, but ques­tions, the five essen­tial ques­tions to ask as you move through life. He elab­o­rates on each above:

1.) Wait, what?

2.) I won­der, why/if?

3.) Could­n’t we at least?

4.) How can I help?

5.) What real­ly mat­ters?

Bonus ques­tion: And did you get what you want­ed out of life, even so?

You can watch Ryan’s com­plete com­mence­ment speech here.

Relat­ed Con­tent:

What Are the Keys to Hap­pi­ness? Lessons from a 75-Year-Long Har­vard Study

Oprah Winfrey’s Har­vard Com­mence­ment Speech: Fail­ure is Just Part of Mov­ing Through Life

The Har­vard Clas­sics: Down­load All 51 Vol­umes as Free eBooks

Harvard’s Free Com­put­er Sci­ence Course Teach­es You to Code in 12 Weeks

Har­vard Presents Two Free Online Cours­es on the Old Tes­ta­ment

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Princeton Historian Sean Wilentz on How Trump May Change (If Not Destroy) the GOP

Around here, we main­ly know Sean Wilentz as the “his­to­ri­an in res­i­dence” of Bob Dylan’s offi­cial web­site, and the author of the biog­ra­phy, Bob Dylan In Amer­i­ca.

But, in his day job, Wilentz is Pro­fes­sor of Amer­i­can His­to­ry at Prince­ton Uni­ver­si­ty, where has taught since 1979, and writ­ten books on every­thing from The Rise of Amer­i­can Democ­ra­cy: Jef­fer­son to Lin­coln, to The Age of Rea­gan: A His­to­ry, 1974–2008. More than most, he’s well posi­tioned to talk about what, in the big­ger scheme of things, a Trump pres­i­den­cy could mean for the Amer­i­can polit­i­cal sys­tem. Above, Wilentz con­tends that we’d have a “cri­sis pres­i­den­cy,” hope­ful­ly con­strained by the checks and bal­ances built into our con­sti­tu­tion. And he sug­gests that, if his­to­ry offers any guide, the nativism fuel­ing the Trump cam­paign could spell doom for the GOP. When­ev­er a par­ty runs on “Mak­ing Amer­i­ca Great Again,” says Wilentz, it “usu­al­ly means that the par­ty is going to fall under great pressure–it’s going to, if not col­lapse entire­ly, dis­in­te­grate or get pushed to the mar­gins.” Few GOP lead­ers, Lind­sey Gra­ham except­ed, seem to real­ly get that. But can we real­ly expect polit­i­cal nonen­ti­ties to see that you’re actu­al­ly los­ing when you think you’re win­ning? 

 

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“Forbidden Images,” a Compilation of Scandalous Scenes from the Early Days of Cinema (NSFW in 1926)

Last night I caught a screen­ing of Park Chan-wook’s new movie The Hand­maid­en, whose dar­ing­ly frank love scenes — by the stan­dards of main­stream cin­e­ma, at least — have already drawn no small amount of inter­na­tion­al noto­ri­ety. That goes espe­cial­ly for a once cen­sor­ship-heavy coun­try like South Korea, where The Hand­maid­en came from and where I saw it. But it also comes just as one more push of the enve­lope in the process that has been broad­en­ing the range of “accept­able” imagery for high-pro­file pro­duc­tions ever since the birth of the medi­um. You can get a sense of just how much it has accom­plished by watch­ing “For­bid­den Images,” the four-minute com­pi­la­tion just above.

“I made this film for the 2007 edi­tion of the 72 Hour Film Fest in Fred­er­ick, MD,” writes its uploader, “These scenes come from a reel of 35mm nitrate that was dis­cov­ered in the pro­jec­tion booth of an old movie the­ater in Penn­syl­va­nia. The pro­jec­tion­ist spliced togeth­er this reel of banned, cen­sored scenes to meet local moral stan­dards or for late night, ‘per­son­al’ screen­ings.” And what does this dis­til­la­tion of pure cin­e­mat­ic scan­dal show us? Bathing beau­ties, jubi­lat­ing flap­pers, faint­ing damsels, whirling lady dervish­es, skirts fly­ing in the wind, and a whole lot of feet, most of them still shod — a far cry from what most of us, absent very spe­cif­ic desires indeed, would con­sid­er forms of tit­il­la­tion today.

Yet at the time, “For­bid­den Images” tells us, film­mak­ers and the­ater own­ers had to cut out these shots lest they face arrest. But what films did they have to cut them out of? The video’s com­menters on Youtube have iden­ti­fied scenes from Fritz Lang’s Metrop­o­lis and Gre­ta Gar­bo in The Temptress, and a 1926 pic­ture called The Black White Sheep. We may laugh at what peo­ple in the silent era con­sid­ered unshow­able, but this com­pi­la­tion presents us with the unavoid­able ques­tion: “Will our cur­rent forms of cen­sor­ship and moral stan­dards appear just as ridicu­lous to future audi­ences?” After all, we can always push the enve­lope a lit­tle fur­ther — and thus far, we always have.

Relat­ed Con­tent:

Watch After the Ball, the 1897 “Adult” Film by Pio­neer­ing Direc­tor Georges Méliès (Almost NSFW)

Metrop­o­lis: Watch a Restored Ver­sion of Fritz Lang’s Mas­ter­piece (1927)

Watch Scar­let Street, Fritz Lang’s Cen­sored Noir Film, Star­ring the Great Edward G. Robin­son (1945)

Watch Jean Genet’s Only Film, the Cen­sored A Song of Love (1950)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Bertrand Russell Lists His 20 Favorite Words in 1958 (and What Are Some of Yours?)

Russell_in_1938

Image via Wiki­me­dia Com­mons

Is it pos­si­ble to ful­ly sep­a­rate a word’s sound from its meaning—to val­ue words sole­ly for their music? Some poets come close: Wal­lace Stevens, Sylvia Plath, John Ash­bery. Rare pho­net­ic meta­physi­cians. Sure­ly we all do this when we hear words in a lan­guage we do not know. When I first encoun­tered the Span­ish word entonces, I thought it was the most beau­ti­ful three syl­la­bles I’d ever heard.

I still thought so, despite some dis­ap­point­ment, when I learned it was a com­mon­place adverb mean­ing “then,” not the rar­i­fied name of some mag­i­cal being. My rev­er­ence for entonces will not impress a native Span­ish speak­er. Since I do not think in Span­ish and strug­gle to find the right words when I speak it—always translating—the sound and sense of the lan­guage run on two dif­fer­ent tracks in my mind.

An exam­ple from my native tongue: the word obdu­rate, which I adore, became an instant favorite for its sound the first time I said it aloud, before I’d ever used it in a sen­tence or parsed its mean­ing. It’s not a com­mon Eng­lish word, how­ev­er, and maybe that makes it spe­cial. A word like always, which has a pret­ty sound, rarely strikes me as musi­cal or inter­est­ing, though non-Eng­lish speak­ers may find it so.

Every writer has favorite words. Some of those words are ordi­nary, some of them not so much. David Fos­ter Wallace’s lists of favorite words con­sist of obscu­ri­ties and archaisms unlike­ly to ever fea­ture in the aver­age con­ver­sa­tion. “James Joyce thought cus­pi­dor the most beau­ti­ful word in the Eng­lish lan­guage,” writes the blog Futil­i­ty Clos­et,” Arnold Ben­net chose pave­ment. J.R.R. Tolkien felt the phrase cel­lar door had an espe­cial­ly beau­ti­ful sound.”

Who’s to say how much these authors could sep­a­rate sound from sense? Futil­i­ty Clos­et illus­trates the prob­lem with a humor­ous anec­dote about Max Beer­bohm, and brings us the list below of philoso­pher Bertrand Russell’s 20 favorite words, offered in response to a reader’s ques­tion in 1958. Though Rus­sell him­self had a fas­ci­nat­ing the­o­ry about how we make words mean things, he sup­pos­ed­ly made this list with­out regard for these words’ mean­ings.

  1. wind
  2. heath
  3. gold­en
  4. begrime
  5. pil­grim
  6. quag­mire
  7. dia­pa­son
  8. alabaster
  9. chryso­prase
  10. astro­labe
  11. apoc­a­lyp­tic
  12. ineluctable
  13. ter­raque­ous
  14. inspis­sat­ed
  15. incar­na­dine
  16. sub­lu­nary
  17. choras­mean
  18. alem­bic
  19. ful­mi­nate
  20. ecsta­sy

So, what about you, read­er? What are some of your favorite words in English—or what­ev­er your native lan­guage hap­pens to be? And do you, can you, choose them for their sound alone? Please let us know in the com­ments below.

Relat­ed Con­tent:

David Fos­ter Wal­lace Cre­ates Lists of His Favorite Words: “Mau­gre,” “Taran­tism,” “Ruck,” “Prima­para” & More

“Tsun­doku,” the Japan­ese Word for the New Books That Pile Up on Our Shelves, Should Enter the Eng­lish Lan­guage

5 Won­der­ful­ly Long Lit­er­ary Sen­tences by Samuel Beck­ett, Vir­ginia Woolf, F. Scott Fitzger­ald & Oth­er Mas­ters of the Run-On

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Bertrand Russell: “The Problem with the World Is That Fools & Fanatics Are So Certain of Themselves”

russell rules 2

Image by J. F. Horra­bin, via Wiki­me­dia Com­mons

“The whole prob­lem with the world is that fools and fanat­ics are always so cer­tain of them­selves, but wis­er peo­ple so full of doubts.” — Bertrand Rus­sell

Our hearts go out to the fam­i­lies and friends who lost loved ones in Orlan­do this morn­ing.

 

 

Relat­ed Con­tent:

Bertrand Russell’s Ten Com­mand­ments for Liv­ing in a Healthy Democ­ra­cy

Lis­ten to ‘Why I Am Not a Chris­t­ian,’ Bertrand Russell’s Pow­er­ful Cri­tique of Reli­gion (1927)

Bertrand Rus­sell and F.C. Cople­ston Debate the Exis­tence of God, 1948

1,700 Free Online Cours­es from Top Uni­ver­si­ties

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The Story Of Menstruation: Watch Walt Disney’s Sex Ed Film from 1946

From 1945 to 1951, Dis­ney pro­duced a series of edu­ca­tion­al films to be shown in Amer­i­can schools. How to bathe an infant. How not to catch a cold. Why you shouldn’t dri­ve fast. Dis­ney cov­ered these sub­jects in its edu­ca­tion­al shorts, and then even­tu­al­ly got to the touchy sub­ject of biol­o­gy and sex­u­al­i­ty. If there was ever a com­pa­ny suit­ed to talk about “vagi­nas” in the 1940s in a copacetic way, it was Dis­ney. Hence The Sto­ry of Men­stru­a­tion.

The film runs 10 min­utes, com­bin­ing sci­en­tif­ic facts with hygiene tips, and it was actu­al­ly com­mis­sioned by the Inter­na­tion­al Cel­lo-Cot­ton Com­pa­ny, the fore­run­ner of Kim­ber­ly-Clark, the mak­er of Kotex prod­ucts. An esti­mat­ed 105 mil­lion stu­dents watched the film in sex ed class­es across the US. And, accord­ing to Tin­ker Belles and Evil Queens: The Walt Dis­ney Com­pa­ny from the Inside Out, the film remained a main­stay in schools until the 1960s. It’s now in the pub­lic domain. When you’re done, you’ll also want to watch Fam­i­ly Plan­ning, Walt Disney’s 1967 Sex Ed Pro­duc­tion, Star­ring Don­ald Duck.

Both films appear in the Ani­ma­tion sec­tion of our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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Relat­ed Con­tent:

No Women Need Apply: A Dis­heart­en­ing 1938 Rejec­tion Let­ter from Dis­ney Ani­ma­tion

Your Body Dur­ing Ado­les­cence: A Naked­ly Unashamed Sex Ed Film from 1955

Watch Dat­ing Dos and Don’ts: An Old-School Instruc­tion­al Guide to Teenage Romance (1949)

Helen Mirren Holds Her Own (and Then Some) in a Cringe-Inducingly Sexist TV Interview, 1975

Say what you will about Kim Kar­dashi­an. (Go ahead, I’ll wait.)

Yes, she may only be famous for being rich and famous—not a par­tic­u­lar­ly admirable cul­tur­al achieve­ment. But, “and this is the big word: B‑U-T-T‑,” says Helen Mir­ren, “it’s won­der­ful that you’re allowed to have a butt nowa­days… Thanks to Madame Kar­dashi­an.” Should you think Madame Kardashian’s butt-bar­ing shame­ful, you’ll have Dame Helen to deal with, and she may not deal with you kind­ly.

Though the Kar­dashi­ans are “a phe­nom­e­non I just don’t find inter­est­ing,” Mir­ren said recent­ly, she admires Kim and oth­er women in pop cul­ture for their body pos­i­tiv­i­ty: “When I was grow­ing up, it was thought to be unbe­liev­ably slut­tish to even have a bra strap show­ing. Every­thing was about women con­form­ing…. Women were con­trolled by being shamed…. I love shame­less women. Shame­less and proud.”

Mir­ren knows well of what she speaks. Though an accom­plished stage actress since the mid-six­ties, she has been pigeon­holed by crit­ics as a sex sym­bol through­out her career in the­atre and film. While per­form­ing with the Roy­al Shake­speare Com­pa­ny, one paper dubbed her “Stratford’s very own sex queen.” Mirren’s ear­ly film work includ­ed nude scenes in 1969’s Age of Con­sent and the 1979 Bob Guc­cione-pro­duced Caligu­la, and she has called the decade between those two films the most sex­ist time in recent his­to­ry, “worse than the 1940s or 50s,” she says, “It was hor­ri­ble. That decade, after the sex­u­al rev­o­lu­tion but before fem­i­nism, was per­ilous for women.”

Some evi­dence is on dis­play in the clips above from an infa­mous 1975 inter­view Mir­ren gave with a leer­ing Michael Parkin­son. The inter­view begins, at the top, with Parkin­son quot­ing sev­er­al crit­ics on Mirren’s “slut­tish eroti­cism,” among oth­er things. It quick­ly goes down­hill from there. Mir­ren shrugs off the sex­ist lin­go; Parkin­son can’t shut up about it, ask­ing if “what can best be described as your ‘equip­ment’ hin­ders you, per­haps, in that pur­suit” of being, he says, “in quotes a ‘seri­ous actress.’” Asked to clar­i­fy, he stum­bles, then says that her body “might detract from the per­for­mance, if you know what I mean.” She doesn’t.

Mir­ren doesn’t make this belit­tling sex­ism easy for Parkin­son, but he can’t seem to stop him­self. It’s hard to watch, but also inspir­ing to see her poise and con­fi­dence in the face of his boor­ish­ness. (She calls his ques­tions “bor­ing” and he final­ly vows to “leave off this sexy image thing,” though he comes back to it.) Yvonne Roberts in The Guardian calls the inter­view “far from unusu­al,” and the kind of thing that “gave Jim­my Sav­ile his cov­er.” She also says that though “Mir­ren is right on the impact of the sex­u­al rev­o­lu­tion,” she is “wrong on chronol­o­gy. The 70s was the decade when fem­i­nism took hold—and per­haps that’s why sex­ism became still more marked.” Pro­nounced back­lash always fol­lows social change, a phe­nom­e­non we’ve seen so often that it seems inevitable.

The Parkin­son inter­view was Mirren’s first talk show appear­ance, and she remem­bers being “ter­ri­fied” at the time. On re-watch­ing the inter­view in 2011, she said, “I actu­al­ly thought, bloody hell! I did real­ly well. I was so young and inex­pe­ri­enced. And he was such a f***ing sex­ist old fart. He was.” She remem­bers him as “an extreme­ly creepy inter­view­er” and told BUST mag­a­zine in 2010 she was “far more polite than I should have been.” Mir­ren got the chance to con­front Parkin­son about that creepy 1975 appear­ance when she returned as a guest on his show in 2006 to talk about her title role in The Queen.

In the clip above from that appear­ance, Parkin­son returns to the sub­ject of Mirren’s breasts in dis­cussing her lead part in the BBC police pro­ce­dur­al series Prime Sus­pect. She forth­right­ly takes him to task. “I’m glad you men­tioned that, Michael,” she says, “because you can’t resist, can you?” Of the 1975 inter­view, she says, “I hat­ed you. I thought you were a sex­ist per­son.” Parkin­son hasn’t changed, it’s clear, but Mir­ren says she’s “mel­lowed.” The exchange is a lot less awk­ward, per­haps because Parkin­son knows he can’t bul­ly Mir­ren the movie star as he did the young stage actress.

Though Mir­ren now says she’s hap­py to no longer be a sex sym­bol, she also express­es admi­ra­tion for “women who have claimed their own bod­ies…. They all raise their mid­dle fin­gers to this epi­thet of ‘slut.’ They wear what they want to wear, behave as they want to behave.” Though she did not have chil­dren, she tells BUST she would have taught her daugh­ter to “say ‘f*ck off’ in the face of sex­ism”: “It’s quite valu­able to have the courage and the con­fi­dence to say, ‘No, f*ck off, leave me alone, thank you very much.” Sad­ly, as we see again and again, in a cul­ture that still shames and deval­ues women, and enables rape and sex­u­al vio­lence, that courage and con­fi­dence, incred­i­bly valu­able as it is, isn’t enough to stop con­tin­ued ram­pant sex­ism and abuse in the enter­tain­ment indus­try and every­where else.

Relat­ed Con­tent:

Helen Mir­ren Now Teach­ing Her First Online Course on Act­ing

Down­load All 239 Issues of Land­mark UK Fem­i­nist Mag­a­zine Spare Rib Free Online

1933 Arti­cle on Fri­da Kahlo: “Wife of the Mas­ter Mur­al Painter Glee­ful­ly Dab­bles in Works of Art”

Simone de Beau­voir Tells Studs Terkel How She Became an Intel­lec­tu­al and Fem­i­nist (1960)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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