News
‘Childless cat ladies’ have long contributed to the welfare of American children − and the nation
Jane Addams and contemporaries like Katharine Bement Davis exemplified alternative motherhood, advocating for public welfare and women’s rights, challenging narrow definitions of motherhood.
Anya Jabour, University of Montana
Parenting, single people and the U.S. birth rate have assumed a greater place in the 2024 presidential campaign than any race in recent memory.
Republican vice presidential candidate JD Vance was widely rebuked for criticisms he lodged in 2021 against “childless cat ladies,” saying they have no “physical commitment” to the country’s future.
In August 2024, Arkansas Gov. Sarah Huckabee Sanders, also a Republican, piled on, saying Democratic presidential candidate Kamala Harris has no children to “keep her humble,” even though she’s stepmother to two children who call her “Mamala.”
As a historian of women, families and children in the U.S., I see these biological definitions of motherhood as too narrowly conceived. The past can serve as a reminder that other forms of mothering are important, too.
My research offers a broader perspective on women’s experiences of mothering and a deeper understanding of how women without biological children contribute to the nation and its future.
‘Mothers of all children’
One such woman was Katharine Bement Davis, the subject of my current research.
Born in Buffalo, New York, in 1860, Davis was a member of a generation of “new women” who pursued higher education, built professional careers and fought for political rights.
Other women of this generation included Nobel Peace Prize winner Jane Addams, public health nurse Lillian Wald, prison reformer Miriam Van Waters, child welfare advocate Julia Lathrop, social work pioneer Sophonisba Breckinridge and first lady Eleanor Roosevelt – to name just a few.
Of this group, only Roosevelt had children of her own. But all of them saw themselves as “mothers of all children,” as one historian has described juvenile justice advocates. Accepting responsibility for the nation’s welfare, they used their identity as public mothers to shape American politics.
In a 1927 letter to her college classmates, Davis whimsically reflected on her life choices:
“First, I am still an old maid; therefore, I cannot write interesting things about my husband and children, (and) how I have treated him and how I have raised them. First and last, however, I have had a good deal to do in the way of looking after other people’s husbands and children.”
Indeed, Davis’ life illustrated the many meanings of motherhood.
Like many ostensibly childless women, Davis was a doting aunt. With her unmarried sisters, Helen and Charlotte, she helped care for her only niece, Frances, whose mother died when she was just a toddler. In the mid-1920s, Frances lived with all three aunts while attending school in New York City.
Black feminist scholars call this sort of arrangement, long practiced in African American communities, “othermothering.”
Davis and other white women of her generation also engaged in the practice of caring for children, whether through formal adoption or informal caregiving. For instance, Breckinridge helped raise her nieces and nephews, while Van Waters legally adopted a daughter.
‘Maternalism the coming great force in government’
Throughout her life, Davis used what she called “the methods of motherhood” to promote public welfare.
After teaching school in western New York , establishing a playground in a working-class neighborhood in Philadelphia and supervising young offenders in upstate New York, Davis became New York City’s first female commissioner of correction in 1914.
Only months into her term, male inmates at Blackwell’s Island Penitentiary staged a major riot. Davis quelled the rebellion and established her own authority by addressing the refractory prisoners like wayward children. “You fellows must behave,” she pronounced. “I’ll have it no other way.”
After successfully using “motherly methods” to regain control of “the bad boys of Blackwell’s Island,” Davis proclaimed that “maternalism” was “the coming great force in government.”
Echoing her colleagues in the suffrage movement, Davis used the language of maternalism to promote women’s voting rights. Like other feminist pacifists, she believed that women were “the mother half of humanity.” Finally, like many women activists in the U.S. and Europe, she believed that all women – whether they had children of their own or not – were responsible for all children’s welfare.
Insisting that “wise motherhood” was essential to better government, Davis argued that women needed the vote – and that the nation needed women voters. Maternalist activists also promoted juvenile justice, parks and playgrounds, health care programs and financial assistance for needy families and children, laying the groundwork for the modern welfare state.
Giving women the right to choose
While she promoted public welfare and demanded political rights, Davis also advocated for what she and her contemporaries called “voluntary motherhood” – the idea that women should be able to control their reproductive lives.
Davis supported efforts to overturn the Comstock Act of 1873, which defined contraception and abortion as obscene and made distributing birth control information or devices through the U.S. postal service a federal crime.
States followed federal precedent by adopting “mini-Comstock Laws” criminalizing birth control. By the 1920s, however, some states permitted physicians to prescribe contraceptives – such as diaphragms and spermicides – to protect the health of their female patients.
When she surveyed 1,000 married women for a study of female sexuality in the 1920s, Davis found that most of her study subjects used contraceptives. In addition, nearly 1 in 10 reported having had at least one abortion, even though the procedure was illegal in every state.
And when Davis asked the women about their views on contraception – or as the survey put it, “the use of means to render parenthood voluntary instead of accidental” – she found that about three-quarters of them approved of it.
When the childless take charge
So-called childless women like Davis have shown that they have a stake in children’s welfare, women’s welfare and the nation’s welfare.
Over the past century, maternalists and feminists often have worked together to achieve their aims. Indeed, sometimes they were the same people.
But today, it seems that Republican politicians are attempting to drive a wedge between mothers and others. As a recent New York Times article put it, “the politics of motherhood” have become a “campaign-trail cudgel.”
However, as Davis understood, many issues that affect mothers are important to all women. Moreover, Davis believed that everyone – not just biological mothers – shares the responsibility for the health and welfare of future generations. Finally, she insisted that women should control their own destinies.
So, was Davis a childless cat lady?
Well, a grainy photo of her cuddling a kitten suggests that she did love cats.
As for her childless status, when you consider the full range of her work on behalf of the nation’s children, the answer becomes a bit more complicated.
Anya Jabour, Regents Professor of History, University of Montana
This article is republished from The Conversation under a Creative Commons license. Read the original article.
The Bridge is a section of the STM Daily News Blog meant for diversity, offering real news stories about bona fide community efforts to perpetuate a greater good. The purpose of The Bridge is to connect the divides that separate us, fostering understanding and empathy among different groups. By highlighting positive initiatives and inspirational actions, The Bridge aims to create a sense of unity and shared purpose. This section brings to light stories of individuals and organizations working tirelessly to promote inclusivity, equality, and mutual respect. Through these narratives, readers are encouraged to appreciate the richness of diverse perspectives and to participate actively in building stronger, more cohesive communities.
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Entertainment
Funny, Tender, Goofy: Why Catherine O’Hara Stole Every Scene From SCTV to Schitt’s Creek
Catherine O’Hara, a beloved actor and comedian, passed away at 71. Her career spanned over 50 years, showcasing her unique comedic timing in various roles, including Delia Deetz in Beetlejuice and Moira Rose in Schitt’s Creek. O’Hara’s influence and creativity left a lasting legacy in comedy, inspiring many.
Ben McCann, Adelaide University
Funny, tender, goofy – Catherine O’Hara lit up the screen every time she showed up
Catherine O’Hara, the beloved actor and comedian who has died aged 71, occupied that rare position in contemporary screen culture: a comic actor, a cult figure and a mainstream star.
Her work spanned more than 50 years, from improv sketch comedy to Hollywood features and off-beat TV classics.
She was celebrated for her unmatched comic timing and chameleon-like character work. Her roles were often absurdist and quirky, but they hid a razor-sharp humour.
Born and raised in Toronto in a close-knit Irish Catholic family, O’Hara was one of seven siblings. She once remarked humour was part of her everyday life; storytelling, impressions and lively conversation helped hone her comedic instincts.
After high school, she worked at Toronto’s Second City Theatre, a famed breeding ground for comedy talent, and sharpened her deadpan improvisational skills.
Big break
O’Hara’s break came with Second City Television (SCTV), a sketch comedy series that rivalled Saturday Night Live in creativity and influence. Alongside contemporaries Eugene Levy, John Candy, Rick Moranis and Martin Short, she defined her distinctly smart, absurdist comedic voice.
O’Hara was not merely a performer on SCTV; she was also a writer, winning an Emmy Award for her contributions. This dual role shaped her career-long sensitivity to rhythm, language and character construction.
Unlike sketch performers who rely on repetition or catchphrases, O’Hara’s humour emerged with a different comedic logic. Audiences laughed not because the character was “funny”, but because the character took herself so seriously.
Though briefly cast on Saturday Night Live in the early 1980s, O’Hara chose to stay with SCTV when it was renewed, a decision she later described as key in letting her creative career flourish where it belonged.
The transition to film
By the mid-1980s, O’Hara was establishing herself as a screen presence. She appeared in Martin Scorsese’s offbeat black comedy After Hours (1985), and showcased her comic range in Heartburn (1986).
In 1988, she landed what would become one of her most beloved film roles: Delia Deetz in Tim Burton’s left-field Beetlejuice (1988).
Delia – a pretentious, New York art-scene social climber – allowed O’Hara to combine physical comedy and imbecilic dialogue (“A little gasoline … blowtorch … no problem”).
Burton once noted
Catherine’s so good, maybe too good. She works on levels that people don’t even know. I think she scares people because she operates at such high levels.
She went on to play Kate McCallister, the beleaguered mother in the holiday blockbusters Home Alone (1990) and Home Alone 2: Lost in New York (1992). Audiences loved the fact that this rather thinly written role became the films’ beating heart.
Working with Christopher Guest
Another distinctive phase of O’Hara’s career was her work with writer-director Christopher Guest on a series of largely improvised mockumentaries that have become cult classics.
Three standouts were Waiting for Guffman (1996), where she plays a desperate local performer in a small-town theatre troupe, and A Mighty Wind (2003), where she teamed up with old pal Levy as an ageing folk duo.
Her best turn came in Best in Show (2000), in which she and Levy played a couple competing in a national dog show. Her character Cookie Fleck remains one of the finest examples of improvised comedy on film. https://www.youtube.com/embed/Ay1cJ1QMOms?wmode=transparent&start=0
Her relentless monologues about former lovers are objectively inappropriate, yet O’Hara delivers them with such earnest enthusiasm that they become strangely compelling.
Her gift for improvisation glittered in these films: these eccentric characters were often laugh-out-loud funny – but O’Hara never mocked them.
Late success
She returned to TV in Six Feet Under (2001–05) and guest appearances on The Larry Sanders Show (1992–98) and Curb Your Enthusiasm (1999–2024). More recently, she appeared in prestige shows such as The Last of Us (2023–) and The Studio (2025–).
But it was the role of Moira Rose, the eccentric, ex-soap opera star in the Canadian sitcom Schitt’s Creek (2015–20), created by Eugene Levy and his son Dan, that would become O’Hara’s most significant late career move. And what a role it was!
Written for O’Hara’s unique talents, Moira was a larger-than-life character with a bizarre, unforgettable vocabulary, dramatic mood swings and a wardrobe that became nearly as famous as the character herself.
Feminist media scholars have noted the rarity of such complex roles for older women, particularly in comedy, making O’Hara’s performance culturally significant.
The show became a global streaming blockbuster during COVID lockdowns and O’Hara’s multi-award-winning performance became a social media phenomenon, spawning memes and viral clips.
There are so many standout moments – her drunken meltdown after losing her wigs, her audition for The Crows Have Eyes 3 and the show’s moving finale where she performs Danny Boy at Alexis’s graduation.
An enduring legacy
O’Hara had a remarkable ability to play flamboyant, self-absorbed characters who were often uproariously funny.
Many comedians and actors have cited O’Hara as an influence for her fearlessness, her ability to blend absurdity with emotional truth, and her steadfast commitment to character integrity. She influenced performers like Tina Fey, Maya Rudolph, Kate McKinnon and Phoebe Waller-Bridge.
O’Hara also refused to chase conventional stardom. Rather than choosing projects designed to flatten her eccentricities, O’Hara favoured collaborative environments that valued creativity over control.
For her, comedy was always an art of intelligence, empathy and generosity.
Ben McCann, Associate Professor of French Studies, Adelaide University
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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Local Business
Original Tommy’s: How a Chili Burger Became a Southern California Icon
Original Tommy’s, established in 1946 in Los Angeles, is famous for its thick chili burgers and late-night appeal. It remains family-owned, embodying authentic Los Angeles culture and serving as a cultural landmark despite the fast-food industry’s evolution.
In a city famous for reinvention, reinvention was never the point at Original Tommy’s. Since 1946, the no-frills hamburger stand at Beverly and Rampart has served generations of Angelenos the same way: chili dripping, paper wrapped, eaten standing up, usually late at night. Original Tommy’s isn’t just a restaurant — it’s a piece of Los Angeles history.
From a Small Stand to a City Landmark
Original Tommy’s was founded on May 15, 1946, by Thomas James “Tommy” Koulax, the son of Greek immigrants. What began as a modest walk-up stand selling hamburgers and hot dogs quickly gained attention for one reason: chili. Not the thin, soupy kind — but a thick, meaty chili ladled generously over burgers, fries, hot dogs, and eventually tamales.
The location mattered. Sitting just west of downtown Los Angeles, the stand became a crossroads for working-class Angelenos, night-shift workers, musicians, cops, cab drivers, and anyone else looking for something filling at all hours. Long before the phrase “LA street food” existed, Tommy’s was already living it.
The Chili Burger Becomes an LA Staple
By the 1950s and 1960s, Original Tommy’s chili burger had become legendary. The menu stayed intentionally simple: burgers, hot dogs, fries, tamales, and breakfast items — all enhanced by the same signature chili. The stand-up counters, fast service, and absence of indoor seating created a rhythm that felt uniquely Los Angeles.
This wasn’t fast food chasing national trends. It was local food defining a city.
Growth Without Franchising
Unlike many post-war burger chains, Original Tommy’s expanded cautiously. Beginning in the 1970s, additional locations opened throughout Southern California and later into Nevada. At its height, the chain operated more than 30 restaurants.
What made Tommy’s different was its refusal to franchise widely. Remaining family-owned helped preserve consistency — the chili tasted the same, the portions stayed generous, and the experience remained unmistakably “Tommy’s.”
A Cultural Shortcut for “Real Los Angeles”
Original Tommy’s became more than a place to eat — it became a visual and cultural shorthand for authenticity. Filmmakers and TV producers regularly used the location to signal a grounded, working-class Los Angeles. If a character eats at Tommy’s, you immediately know who they are.
- Films: Heat, L.A. Confidential, They Live
- Television: Bosch, Californication, numerous food and travel shows
Musicians, athletes, and actors have long cited Tommy’s as a post-show, post-game, or late-night ritual — a place that didn’t care who you were, only whether you were hungry.
Why Original Tommy’s Still Matters
Nearly 80 years later, Original Tommy’s endures because it never tried to be trendy. It represents a post-war immigrant success story, a city built on late nights, and a version of fast food rooted in place rather than branding.
In a region overflowing with burger options, Original Tommy’s remains singular — messy, unapologetic, and inseparable from Los Angeles itself.
Original Tommy’s: Then & Now
Original Location (1946–Present):
2575 Beverly Blvd, Los Angeles, CA — the iconic stand-up counter location that started it all.
Expansion Era:
1970s–1990s locations spread across Los Angeles County, Orange County, the Inland Empire, and Nevada.
Today:
A smaller but focused footprint, still family-owned and operated from headquarters in Monrovia, California.
Also Good to Know
- Original Tommy’s Official History
The chain’s own account of its founding and legacy. - Los Angeles Magazine: Original Tommy’s
A deeper look at Tommy’s role in LA food culture. - Tasting Table: Chili Burger History
Context on how chili burgers became a regional staple. - Time Out LA: Original Tommy’s
Why the stand remains a must-visit for locals and tourists.
At our core, we at STM Daily News, strive to keep you informed and inspired with the freshest content on all things food and beverage. From mouthwatering recipes to intriguing articles, we’re here to satisfy your appetite for culinary knowledge.
Visit our Food & Drink section to get the latest on Foodie News and recipes, offering a delightful blend of culinary inspiration and gastronomic trends to elevate your dining experience. https://stmdailynews.com/food-and-drink/
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The Knowledge
How to avoid seeing disturbing video on social media and protect your peace of mind
How to avoid seeing disturbing video on social media and protect your peace of mind
Last Updated on January 29, 2026 by Daily News Staff
Annie Margaret, University of Colorado Boulder
How to avoid seeing disturbing video on social media and protect your peace of mind
When graphic videos like those of the recent shooting of a protester by federal agents in Minneapolis go viral, it can feel impossible to protect yourself from seeing things you did not consent to see. But there are steps you can take.
Social media platforms are designed to maximize engagement, not protect your peace of mind. The major platforms have also reduced their content moderation efforts over the past year or so. That means upsetting content can reach you even when you never chose to watch it.
You do not have to watch every piece of content that crosses your screen, however. Protecting your own mental state is not avoidance or denial. As a researcher who studies ways to counteract the negative effects of social media on mental health and well-being, I believe it’s a way of safeguarding the bandwidth you need to stay engaged, compassionate and effective.
Why this matters
Research shows that repeated exposure to violent or disturbing media can increase stress, heighten anxiety and contribute to feelings of helplessness. These effects are not just short-term. Over time, they erode the emotional resources you rely on to care for yourself and others.
Protecting your attention is a form of care. Liberating your attention from harmful content is not withdrawal. It is reclaiming your most powerful creative force: your consciousness.
Just as with food, not everything on the table is meant to be eaten. You wouldn’t eat something spoiled or toxic simply because it was served to you. In the same way, not every piece of media laid out in your feed deserves your attention. Choosing what to consume is a matter of health.
And while you can choose what you keep in your own kitchen cabinets, you often have less control over what shows up in your feeds. That is why it helps to take intentional steps to filter, block and set boundaries.
Practical steps you can take
Fortunately, there are straightforward ways to reduce your chances of being confronted with violent or disturbing videos. Here are four that I recommend:
- Turn off autoplay or limit sensitive content. Note that these settings can vary depending on device, operating system and app version, and can change.
https://datawrapper.dwcdn.net/d1deR/2
- Use keyword filters. Most platforms allow you to mute or block specific words, phrases or hashtags. This reduces the chance that graphic or violent content slips into your feed.
- Curate your feed. Unfollow accounts that regularly share disturbing images. Follow accounts that bring you knowledge, connection or joy instead.
- Set boundaries. Reserve phone-free time during meals or before bed. Research shows that intentional breaks reduce stress and improve well-being.
Reclaim your agency
Social media is not neutral. Its algorithms are engineered to hold your attention, even when that means amplifying harmful or sensational material. Watching passively only serves the interests of the social media companies. Choosing to protect your attention is a way to reclaim your agency.
The urge to follow along in real time can be strong, especially during crises. But choosing not to watch every disturbing image is not neglect; it is self-preservation. Looking away protects your ability to act with purpose. When your attention is hijacked, your energy goes into shock and outrage. When your attention is steady, you can choose where to invest it.
You are not powerless. Every boundary you set – whether it is turning off autoplay, filtering content or curating your feed – is a way of taking control over what enters your mind. These actions are the foundation for being able to connect with others, help people and work for meaningful change.
More resources
I’m the executive director of the Post-Internet Project, a nonprofit dedicated to helping people navigate the psychological and social challenges of life online. With my team, I designed the evidence-backed PRISM intervention to help people manage their social media use.
Our research-based program emphasizes agency, intention and values alignment as the keys to developing healthier patterns of media consumption. You can try the PRISM process for yourself with an online class I launched through Coursera in October 2025. You can find the course, Values Aligned Media Consumption, on Coursera. The course is aimed at anyone 18 and over, and the videos are free to watch.
This story was updated on Jan. 25, 2026 to include reference to the recent shooting in Minneapolis.
Annie Margaret, Teaching Assistant Professor of Creative Technology & Design, ATLAS Institute, University of Colorado Boulder
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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