The TakePart Top 10 Weekly Roundup is a compilation of the week’s most notable stories from our entertainment-meets-social-action blogging network. We brought you some excellent top 10 lists this week on art, technology, director Errol Morris, and naughty celebs who should rethink their eco-lifestyles. Don’t forget to catch up with some of our other most popular articles of the week, as well as a few TakePart blogger favorites.

Katie:

Bush’s War: PBS Frontline Brings the War to a Computer Near You

Inverted Areola, Asymmetrical Breasts, & the Miss Bimbo Game

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Nicole:

Where the Wild Things Are: Top 10 Art Blogs

Dark Water: Artist Explores Consequences of Three Gorges Dam Project

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Giulia:

A Pregnant Man?

Is the Lebron / Gisele Vogue Cover Racist?

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Gina:

Top 10 Technology Blogs

Errol Morris’ Top 10 Films

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Kerry:

Top 10 Celebrities Who Need a New Cause

Dead Bats Flying: Mysterious Fatal Illness Alarms Scientists

The Three Gorges Dam project is currently the world’s largest construction and engineering site, and has been at the center of a substantial amount of controversy over its economic, social and ecological consequences. Located in the Hubei Province of China along the Yangtze River, this 400 mile reservoir will be able to generate 84 billion kilowatts of energy per hour. Yet the project has destroyed 11 cities and has displaced over 1.2 million people.

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Last month’s Human Rights Watch International Film Festival featured “The Axe in the Attic,” a poignant and thoughtful documentary about both the natural and human costs of Hurricane Katrina. Filmmakers Ed Pincus and Lucia Small spent 60 days on the road exploring New Orleans and other parts of Louisiana, Alabama and Kentucky in their efforts to collect post-storm footage and interviews, but broke with documentary tradition by deciding to include themselves in the story. “When you’re two white northerners heading South,” they said in their directors’ statement, “remaining behind the camera just doesn’t feel like an option.”

The title of the film is a gloomy reference to those who sought refuge in their attics from the flood, but had to chop their way through the roof when the water failed to recede. The documentary itself focuses on how evacuees have had to adjust to their new environments, some achingly alien to them, as both subject and filmmaker take on such controversial topics as class, race, and the government’s failure to provide for those who have lost everything.

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