Caitlin Mae Thomson (she/they)

Caitlin (she/they) is a poet, academic and freelance journalist/editor. She studied Gender and Women's Studies (M.Phil) at Trinity College Dublin and received an Upper Second Class degree from the University of Bristol in English Literature (BA).

Specialities include: theories of the body; medieval studies of sexualities and gender; trans and intersex history of the twentieth century; feminist art history; queer literature and poetry; the sociological histories of sex work and sexuality; and black British writing and history.

Bylines include: The Bitchin' Kitsch, Versification, Bullshit Lit, Dreich, Trouvaille Review, Candid Orange, Empoword, Screen Queens, Safe & Sound, Ta Voix, Helicon, Inter:Mission, Hercampus, That's What She Said, WACK and YARN.

Latest pieces...

The weaponisation of makeup is radical and political in the hands of the queer community, not Kamala Harris

The Telegraph’s highly controversial article ‘Why Kamala Harris is the modern beauty icon the world needs’ reignited the beauty debate among feminists. Whether you believe makeup is intrinsically oppressive or empowering, you cannot deny the article was laughable for its characterisation of Harris’ simplistic makeup as a political tool or as the sign of a beauty icon.

Feminist theory and discourse have centred around the implications of makeup for heterosexual, cis women for far too long.

Celebrities' hijacking of OnlyFans: The real impact on sex workers

Celebrities, YouTubers and influencers alike are flooding OnlyFans in hordes, seizing the opportunity to add to their millions, to the detriment of the hard-working sex workers who populate the site.

OnlyFans definitively entered mainstream discourse earlier this year, when Beyoncé name-dropped the site on her remix of Megan Thee Stallion’s ‘Savage’. Since then, celebrity hijacking of OnlyFans has led many to wonder about the repercussions.

Nostalgia and reflection in Taylor Swift's folklore

folklore was a surprise drop from Taylor Swift, full of breathy vocals, developed stories, an unusual downtempo and subdued production by Aaron Dessner. The result is an atmospheric, contemplative album that shows Swift’s maturity and superbly honed songwriting skills. Many have compared the more minimalist indie sound with 2012 era Swift, who created the moody Red and folksy features with the musical duo, The Civil Wars.