It's time for wealthy sports teams to actively work to repair that long-lasting damage caused by such harmful imagery.

The obvious economic messages and capitalist critiques of "Squid Game" don't inherently mean the show has done enough, or that it doesn't have to "go above and beyond" to be inclusive and further explore the implications of identity in economic marginalization. Instead, if anything, in this story of inequality and economic predation, gender and identity should have received even greater focus, considering how inextricably capitalist oppression intersects with patriarchy.

Those who speak about their lived experiences or marginalized identities remain accused of using "identity politics" for personal advancement — the worst nightmare of a career-driven journalist like Bradley.

The coded whiteness of Chappelle's female, LGBTQ boogeymen co-opts legitimate, progressive concerns about white supremacy, and frames women and queer folks as the real persecutors from whom everyone else needs protection.

The invasiveness and cruelty of the legal proceedings against Jones, Lewinsky, and Broaddrick present a grim reality that speaks to why so few survivors come forward to law enforcement.

"Maid" demonstrates how multiple forms of domestic abuse exist, and the illogical barriers and gatekeeping in place that often keep victims like Alex from receiving the help and resources they need.

"The Guilty" isn't quite as unwatchable as some of the older cop thrillers and "Law and Order" spinoffs, set on ennobling law enforcement and the criminal justice system. But intentionally or not, it still bolsters older, bygone tropes, of women as crazy, the mentally ill as violent, and policing as salvageable by individual, honest cops.

In centering Theo's perspective, the episode is almost entirely inaudible, relying on sign language with subtitles, keen visuals and clever, creative scene-setting. Salon spoke to the creative team about bringing the episode to life.

Over the past millions of years, mankind has survived one apocalyptic disaster after another. And in its earliest, most formative years, it did so without government systems that bog us down with petty politics, corruption and inequality — inventions of patriarchy — when we should all be united in just trying to live another day.

From acclaimed director Ry Russo-Young ("Before I Fall"), HBO's three-part documentary "Nuclear Family," explores this and other questions by excavating her own family's unique, transformative story, which remains a watershed moment for LGBTQ people and families to this day.

"Monsters Inside" is a sprawling project of bothsideisms about the supposed duality of a man who admitted to rape. Billy Milligan's story is undeniably the sort of material that Hollywood and the massive, multi-billion-dollar true crime industry subsist on. But in our consumption of these wildly popular tales, we become desensitized to horrific crimes. And it's through this desensitization, this obsession with stories of people we'll never know, that violent men become legends and household names, while their victims and the traumas of sexual violence are all but erased.

In "Darkness to Light," Raisman shows all the possibilities that open up when famous survivors and advocates like her share their power and platforms with others — and redefine our notions of what a survivor looks like, along the way.

For years, anti-abortion stigma has pushed the narrative that abortion takes away possibilities when a child isn't born. Anti-abortion ad campaigns often depict photos of babies with captions suggesting that if born, they could have been the scientist to cure cancer or the diplomat who would establish world peace. But Thurman's story is one of many that should remind us of the infinite possibilities abortion gives to the already born, living people who have them — to become brilliant scientists, artists, thinkers, performers, leaders, parents, or anything they choose to be.

"Only Murders" satirizes the opportunism and presumptuousness latent in many true crime content creators and consumers, champing at the bit to make a dime or at least go viral off the worst thing that's ever happened to a young woman's family.

Both "Kate" and "The White Lotus" try their hand at subversive, anti-imperialist themes, while ultimately demonstrating the shortcomings of whiteness trying to critique itself. After all, both projects are directed by white men, with great focus placed on white characters.

As long as someone is doing more than wearing clever outfits to high-society events, we shouldn't always be quick to mistake seizing an opportunity and a platform with empty performance.

When feminism is reduced to hollow, capitalistic acts like buying an expensive pair of high heels or becoming a She-E-O, conservative anti-abortion women can easily co-opt this movement, assigning the "feminist" label to anything — and I mean anything — women do.

The misguided patriotism the tragedy stoked among older generations yielded broad support for costly, endless wars, and has amounted to disastrous outcomes that young people more than any other generation must now reckon with.

In an interview on her new book, Littlejohn discussed the surprising and upsetting revelations of hundreds of interviews with women about sex and birth control, the invisible gendered labor of managing birth control side effects, what sex-positive parents are and aren't getting right, and more.

Believe it or not, Texas abortion funds, who have long worked against tremendous odds to help disproportionately poor, people of color get abortion care, have yet to ask anyone to help out by going celibate. Instead, funds and organizers have been asking the public to pay attention to their work and the barriers they face for years, long before this current crisis was finally deemed worthy of mainstream media attention. To survive the war on bodily autonomy and reproductive freedom that's ramping up all around us, we should take our cues from organizers, rather than, say, Milano, Jamil or Midler.