For me, if folks who are watching YouTube can pitch in a bit to help cover the cost for creating this work, that's great, but I don't want folks who can't helped to not have access to it. I really like the crowdfunding model in that regard.

For me, if folks who are watching YouTube can pitch in a bit to help cover the cost for creating this work, that's great, but I don't want folks who can't helped to not have access to it. I really like the crowdfunding model in that regard.

I'm really thriving and enjoying being a part of a really vibrant creative team and doing creative work.

Maybe today we aren't being told that our brains are not capable of such things [like programming], but we [as a women] are being told that we are not good enough or smart enough or that our successes do not belong to us.

The other thing is that it's really hard to separate out the harassment from everything we do. When we started creating Tropes, we were hyper-aware of the intense scrutiny, the intense harassment, and the intense pressure to do something meaningful given the attention both positive and negative. That's carried over in terms of making sure that I produce the best work that I can, that's the most accurate, the most sensitive and engaged.

I wanted to make feminism more accessible. And I really wanted to engage with my own generation, one that is increasingly speaking in an audio/video multimedia language.

There is a clear difference between sexist parody and parody of sexism. Sexist parody encourages the players to mock and trivialize gender issues while parody of sexism disrupts the status quo and undermines regressive gender conventions.