Dolly Parton once stepped into a boardroom in rhinestones and heels and walked out owning her songs. The men across the table thought she was a simple country girl who would sign whatever they handed her. Instead, she bought back her publishing rights. At the time, almost no one did that. Years later, when Whitney Houston’s “I Will Always Love You” sold tens of millions of copies, the royalties went straight to Dolly. She hadn’t only written the song — she owned it.
That has always been Dolly’s secret. She leaned into the wigs, the glitter, the corny jokes. People laughed, called her a backwoods Barbie, and assumed she wasn’t serious. She let them. Beneath the sparkle, she was one of the sharpest operators the music business has ever seen. She built Dollywood in the Tennessee mountains, turning her roots into an empire. She poured money into literacy programs, giving away more than 200 million books. She did it all while the world underestimated her — just the way she wanted.
The look was never an accident. “It costs a lot of money to look this cheap,” she joked. The hair, the nails, the laugh — they were her armor. They got her in the room, distracted the skeptics, and gave her time to walk away with the deal.
Even Elvis wanted a piece of her song. His manager demanded half the rights to “I Will Always Love You.” Dolly turned him down, crying in her car afterward, but she never gave in. That refusal may be the most valuable “no” in music history.
Dolly Parton’s story isn’t just about a country singer in sequins. It is about a woman who let the world misjudge her and used it to win. She played the joke everyone wanted — then turned it into power, money, and millions of books in children’s hands.
AGORA: Dragged from her chariot by a mob of fanatical vigilante Christian monks, the revered astronomer was stripped naked, skinned to her bones with sharp oyster shells, stoned and burned alive as possibly the first executed witch in history. A kind of purge that was apparently big business back then.
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CRITICAL WOMEN HEADLINES
9/7/25
8/26/25

But behind War and Peace and Anna Karenina stood a woman too often left in the shadows.
Sofia Tolstaya was not just Tolstoy’s wife.
She was his editor, copyist, typist, literary manager, publisher, the mother of thirteen children, and the emotional anchor for a man as turbulent as he was brilliant.
When he handed her War and Peace, it wasn’t a manuscript—it was chaos. Scribbled pages, scattered ideas, raw genius. She copied it out by hand seven times, deciphering his scrawl and shaping it into the masterpiece we know today.
She defended his work, managed the estate, negotiated with publishers, and kept life running while he chased spiritual purity.
He preached poverty—she balanced the accounts.
He sought detachment—she raised the children.
He left the material world—she kept the family alive.
Her diaries reveal her as sharp, perceptive, witty, and painfully honest—navigating love, exhaustion, resentment, and devotion.
When Tolstoy died at a cold railway station, Sofia arrived too late. Barred from his room, she waited outside as the man she had given her life to took his last breath. For decades, history kept her outside the story too.
Sofia was not a footnote.
She was a pillar.
The quiet co-architect of a literary revolution.
The invisible ink behind masterpieces.
To celebrate Tolstoy without Sofia is to tell only half the story.
She was a genius of endurance—a woman who carried the weight of greatness and made sure the words endured.
1/27/24
WOMEN FILM CRITICS CIRCLE PAULINE KAEL JURY AWARDS 2023

BEST FEMALE ACTION HERO
Briana Middleton, Sharper
Jennifer Lopez, The Mother
BEST DIRECTRESS: COURAGE IN FILMMAKING
Alice Troughton, The Lesson
Frances O'Connor, Emily
COURAGE IN ACTING
[Taking on unconventional roles that radically redefine the images of women on screen]
Emma Stone - Poor Things
Tia Nomore - Earth Mama
WOMEN'S WORK - BEST ENSEMBLE CAST
How to Blow Up A Pipeline - Ariela Barer, Sasha Lane, Kristine Froseth & Jayme Lawson
The Taste Of Things
THE INVISIBLE WOMAN AWARD
[Supporting performance by a woman whose exceptional impact on the film dramatically, socially or historically, has been ignored]
Roberta Colindrez, Cassandro
Ronke Adekoluejo, Chevalier (constant voice in Chevalier de Saint-Georges' head)
BEST KEPT SECRET - Overlooked Challenging Film Gems
Our (Almost Completely True) Love Story
The Kill Room
WOMEN SAVING THEMSELVES AWARD
Ghosted
Memory
MOMMIE DEAREST WORST SCREEN MOM OF THE YEAR
Julianne Moore, May December

HALL OF SHAME
'Unique, provocative and stylishly opinionated'...Fasten your seat belts!
[Individual WFCC Member Picks]
Priscilla is a listless, boring movie with no Elvis Presley music about a Nepo wife whose only claim to fame is being married to Elvis.
May December is just another sick habit of Hollywood exploiting and promoting a horrible, vile, immoral crime ripped from the headlines just to make money with no creative thinking at all involved.
Poor Things - falls into the male gaze with its depiction of an infantilized woman.
Boo To The Oscars: For snubbing the female director and star of the feminist comedy Barbie, while nominating the male supporting actor, Ken.
Shame on Spyglass Films for firing Mexican actress Melissa Barerra from Scream 7, her third Scream sequel, for courageously advocating a humanitarian ceasefire in Gaza. The star of 'In The Heights' has however defiantly continued her support for Palestine by speaking out - turning up at Sundance this month to join a Pro-Palestinian march at the Festival while promoting her next film there, seemingly ironically titled in her struggle against censorship, 'Your Monster.'
The Drew Barrymore Show - for ignoring their three women writers (Cristina Kinon, Elizabeth Koe, and Chelsea White), and announcing that they wanted to resume filming during the WGA strike.
Magic Mike's Last Dance - I cringed at the thought that a woman can't find her sexuality unless she gets a lap dance. Admittedly, Mr. Tatum does rouse the hormones, but the idea that a woman of putative power, talent, and brains needs a man to make it all happen for her, well, feh.
No Hard Feelings: Crosses the line, several ways, several times. It is the lowest kind of humor and at times even veers racist and homophobic. The producers probably think they were flipping the script by putting a woman in the sexist, douchey lead role, but really they just perpetuated that demeaning trope. They think they're being meta and woke when actually they're just deeply offensive. When the audience laughs, they don't get the irony, they just think it's okay to laugh along with misogyny again.
A Good Person: The modern Oxycontin crisis is represented here by Florence Pugh, as overwhelmingly white, when the war on drugs has consistently vilified drug addicts in cases where the drug of choice was largely used by the black community...The whitewashing and sanitizing of drug addiction here is rampant and insulting. The film does a disservice to individuals and families of any color actually experiencing the effects of drug addiction. Our beautiful, middle-class, white heroine is always painted in a light that makes her seem like an innocent victim, as opposed to all the years we’ve consumed media telling us the opposite about drug addicts of any other color. Even the teenager in the black family is demonized more for the way she deals with her trauma than the lead character.
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