40 Weird Terms That Millennials Invented, Explained

40 Weird Terms That Millennials Invented, Explained

The ultimate guidebook to millennial slang.

1. Flamed - Kinda like the new burned, "I offended you"

2. Roasted - Kinda also like being burned

3. Finessed - "You just got fooled/ tricked"

4. Lit - Basically drunk, but if you wanna pretend your kid is a good kid who doesn't drink it means hyped up.

5. Turnt - The same as lit basically

6. Bae - Like a girlfriend/ boyfriend but not necessarily.

7. Wife/Wifey - Used as in "She's wife material" someone who exemplifies wife material

8. Oomf - Something like bae

9. LOML - Standing for love of my life, most likely used by a girl referring to her best friend (ex- omg Shelby is literally the LOML)

10. BB - Short term for baby also mostly used by girls referring to their best friend

11. Hyfer - Drake lyrics standing for "Hell yeah f*cking right) basically meaning an enthusiastic yes

12. Dope - "sounds good"

13. Binge-watch - When someone just can't stop clicking "next episode" on Netflix

14. Netflix and chill - Well Netflix is gonna be on, but there may not be anyone paying attention to it due to the act of "chilling"

15. GOAT - Meaning greatest of all time you might hear this used in a sentence as "Michael Jordan is the goat."

16. Throwing shade - Someone is being shady, being kind of rude

17. Salty - Someone is offended and showing it

18. Dab - It's only a dance move no worries

19. On fleek - Something is looking good

20. One hunna - As in 100% "Keep it one hunna" meaning keep it real

21. Boujee - Looking or presuming that one is rich, looking dressed up

22. FOMO - Standing for "fear of missing out", used when someone is not present and feels like they are missing out

23. Thirsty - Someone is asking for attention, probably of the opposite sex

24. Bye, Felisha - Saying goodbye after a conversation that someone found annoying

25. "L" / "she took an "L" - Someone did not succeed, failed, probably did something stupid drunk (ex- passed out, kissed an unattractive stranger)

26. The Plug - (ex- he plugged me) someone helped someone out, gave them something

27. "What's the move?"- What's happening?

28. Slay - Work it, you look so good

29. Queen/Kween - Someone who is slaying

30. Aesthetic - Someone's vibe

31. Savage - Someone who gets away with something risky

32. Petty - Being rude/doing something to get at someone

33. Ghosting/ghost mode - Someone isn't replying for a while, you haven't heard from them

34. On read - Meaning someone opened your message and din't reply

35. Low key - Keeping something on the down low

36. High key - Making something obvious

37. Extra - Someone is being over the top, trying too hard (ex- wearing too many accessories, makeup)

38. RT - This means retweet but a lot of people say it when something is relatable

39. V - Short for very (ex: "I'm V excited to see you.")

40. Trippin' - Not understanding, sounding crazy

Cover Image Credit: Ashley Webb / Flickr

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5 Badass Female Filmmakers

The women challenging the Hollywood narrative.

Hollywood has always been a male-dominated industry, despite women always being present in the history of filmmaking. If the recent flood of sexual assault stories in the film industry has proved anything, it is just that. Women have always been present in Hollywood and we will not stay in the dark. It feels like there is some sort of shifting tides, thanks to the brave individuals who have come forward to share their own stories of sexual trauma. In the spirit of this hope, here is the third of a series about female film directors.

1. Kelly Reichardt

Reichardt is an American indie screenwriter and director. Her most recent film "Certain Women" (2016) received 44 nominations and 13 wins in the festival circuit, including Best Woman Screenwriter at the 2017 EDA Female Focus Awards. Many of her films feature renowned actress Michelle Williams. Other notable films include "Night Moves" (2013) and "Wendy and Lucy " (2008).

2. Julie Taymor

Taymore is an American theatre, opera, and film director and producer, best known for directing the original stage production of The Lion King on Broadway. In 1998, she became the first woman to win a Tony Award for Directing, for the production. She is also known for directing the films "Frida" (2002), "Across the Universe" (2007), "Titus" (1999), and "The Tempest" (2010).

3. Gina Prince-Bythewood

Gina Prince-Bythewood is an American director, screenwriter, and producer best known for her work in television and her films "Love & Basketball" (2000), and "The Secret Life of Bees" (2008). She is currently working in television while also in post-production for her upcoming films "Nappily Ever After" (2018) and pre-production for "Silver & Black" (2019). In 2014 She won Best Screenplay from the African American Film Critics Association (AAFCA) for "Beyond the Lights."

4. Mary Harron

Another triple threat director/writer/producer, Mary Harron is best known for writing the screenplay for "American Psycho" (2000), and for her direction of "I Shot Andy Warhol" (1996), "The Moth Diaries" (2011) and "The Notorious Bettie Page" (2005).

5. Debra Granik

Indie film director, writer, cinematographer, Debra Granik is best known for her film "Winter's Bone" (2010). While Jennifer Lawrence was not new to the industry, her leading role in the film is said to be her breakout film, as well as earning the actress her first Oscar nomination. The film was also nominated for the Academy Awards for Best Motion Picture, Best Actor in a Supporting Role (John Hawkes), and Best Adapted Screenplay (Debra Granik, Anne Rossellini).

Cover Image Credit: Pexels

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How We Should (Or Shouldn't) Respond To The Aziz Ansari Allegations

Blaming the victim won't address the real problem.

I have spent an inordinate amount of time in the past couple of days reading about Aziz Ansari. For those of you who don’t know, Aziz Ansari is a comedian who was recently accused of sexual assault, just days after winning a golden globe while proudly wearing a “Time’s Up” pin, the symbol of ending sexual assault and harassment in Hollywood. With each article, my opinion has shifted a bit, being tugged to different sides by the perspectives of intelligent, outspoken women who have responded to the incident. One article, however, I found to be an especially disgusting way to respond to the allegations against Ansari.

The incident, described in this article, took place when a young photographer went on a date with Ansari. After the date, they went back to his apartment. What followed were a series of uncomfortable, often aggressive, and questionably consensual sexual activities. The young woman involved left the date upset, emotional, and feeling violated.

“The Humiliation of Aziz Ansari,” an article published in The Atlantic, took a problematic, scary incident and directed all of the blame at its victim, rather than addressing the nuances of what took place and respectfully acknowledging why its classification as an assault is less straightforward than many of the other #MeToo accusations.

The author of the article, Caitlin Flanagan, immediately proclaims herself as part of an older generation. She mentions how to her, the entirety of the incident seems foreign and fast-paced. She goes on to describe how each step leading up to the date would be seen by the media of her generation — labelling her shallow, desperate, cruel, and unwise. Though not personally calling Grace any of those things, Flanagan does not seem to disagree.

Flanagan pins the blame on Grace throughout her article, somehow making her excitement and hopefulness about the date into naivety and faults. She writes, “[Grace] tells us that she wanted something from Ansari and that she was trying to figure out how to get it. She wanted affection, kindness, attention.” As if being excited about a date or having high expectations is not something you are supposed to feel when meeting someone new. Were Grace to say she was nervous about the date, I’m sure Flanagan would have turned it around on her too, saying she should have followed her intuitions. This form of victim blaming allows her to dismiss Grace’s accusations as “3,000 words of revenge porn,” instead of taking them as what they are.

The article goes on to condemn not only Grace, but the modern woman in general. “...We were strong in a way that so many modern girls are weak,” Flanagan proclaims. Now here is where I think Flanagan could have made a valid and important argument about promoting women’s agency and responsibility in a culture in which Ansari can act this way. Instead of addressing how women must take action against rape culture - or more accurately, stop being taught the idea that they are not to say no by society — even if it should never have to be their responsibility, Flanagan demeans Grace for not immediately leaving or for hoping that Ansari would change his actions after her refusals. She says, “apparently there is a whole country full of young women who don’t know how to call a cab, and who have spent a lot of time picking out pretty outfits for dates they hoped would be nights to remember.”

It is comments like these that remind me of the sharp differences between feminists of today and those of older generations. You do not even need to agree that the case with Aziz Ansari was sexual assault in order to agree that it is an issue we need to tackle.

It seems that the responses from many women to Grace’s story come from having their own versions of this date. Almost all women of Flanagan’s generation have experienced similar things many times but were told that this is not the sort of situation that warrants a lot of attention or disgust. Growing up with that mindset, I can understand why it may be difficult to see that behavior as anything other than normal.

The problem, however, is that it is normal — exceedingly so. What Grace’s story is part of is a movement to push back against that norm.

In addition to her cold dissection of Grace’s story, Flanagan attempts to use Ansari’s race as a way to validate his actions, saying, “I thought it would take a little longer for the hit squad of privileged young white women to open fire on brown-skinned men.” She seems to believe that Ansari’s status as a person of color should somehow offer him protection under the guise of intersectionality.

However, this is exactly one of the reasons that Grace’s story is so important to hear. It’s not just powerful, wealthy white men who act in this way. It is also people of color who are known for being feminist and even intersectional. Ansari’s comedy profits off his persona as a “nice guy” and a feminist. He talks about and condemns behavior just like this in his stand-up, which is exactly why the story is that much more disturbing.

Clearly, I disagreed with the article. On the other hand, I myself feel hesitant in wholeheartedly putting Aziz Ansari in the category of men like Harvey Weinstein. Grace’s story is an important part of an ongoing conversation about rape culture. What constitutes assault and what do we do with the gray areas? It’s crucial to expose just how widespread this type of behavior is, even among those we least expect.

However, there is something to be said about Grace’s - and all women and feminists - role in all of this. I do not think Grace is to be blamed for what happened at all - Ansari’s actions are part of a normalized culture that paints violence as “sexy” and encourages men to believe that a “no” should be tested every five minutes, in case something has changed for some reason. In a case like Grace’s, as is true of so many women (myself included), that “no” sometimes does change, but only because we feel pressured, or tired of resisting. But if we expect change from men, we have to be part of that change.

Yes, she was a victim, and she is not responsible for changing Ansari’s behavior. I don’t feel comfortable assuming that in the moment she felt she could do anything. But anytime we do feel comfortable, we need to. Because for men to change the way they have been socialized to act in sexual situations, we need to change the way we react. By addressing the small, trivial things we brush aside because they are “not a big deal," we can become a voice that prevents people from doing things that are a big deal.

Cover Image Credit: Wikimedia Commons

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