When I think back over the most memorable parts of Dahl's work, it's always the nastiness that lingers. ... The awful married couple at the center of… - Helen Lewis

With the pistols, my shots pulled down from the recoil or the weight. But the AR‑15 nestled into my shoulder pad, and the shots skipped out of it and into the center of the target. I felt like I was in Call of Duty, with the same confidence that there would be no consequences for my actions; that if anything went wrong, I could just respawn.
Later, a friend texted to ask how firing the rifle had been. I loved it, I said. No one should be allowed to have one. This is not a sentiment to be expressed openly in DeSantis’s Florida.

Perhaps a comparison will help. The same progressives who push for pregnant people have no problem saying “Black Lives Matter”—and in fact decry the right-wing rejoinder that "all lives matter." Yet, hopefully, all lives do matter—and about half of the people shot by U.S. police are white. So why insist on Black? Because the phrase is designed to highlight police racism, as well as the disproportionate killing of Black men in particular. Making the slogan more "inclusive" also makes it useless for political campaigning.
Pregnant people does the same. The famous slogan commonly attributed to the second-wave activist Florynce Kennedy—"If men could get pregnant, abortion would be a sacrament"—would be totally defanged if it were made gender-neutral. And if we cannot talk about, say, the Texas abortion law in the context of patriarchal control of women's bodies, then framing the feminist case against such laws becomes harder. No more "men making laws about women." Instead we get: "Some people who are in charge of policy want to restrict the rights of some other people. We oppose that because people’s rights are human rights!"

That this play is at the Globe, the home of Shakespeare, only underscores that it is not in the Shakespearean tradition. The great English playwright is still revered today because he drove the possibilities of drama forward, creating characters with psychological depth and ambiguity. I, Joan is part of an older tradition, the medieval morality play. These pitted virtues and vices against one another for the soul of the protagonist: Greed and Sloth raged against Chastity and Patience. In I, Joan, that conflict has given way to one between Cisnormativity and Authenticity. I, Joans supporting characters exist not as people but as conduits for the moral lesson being delivered to the audience.