Sunday, January 13, 2013

It takes a fat turncoat

When a gender-based attack is launched, it's really important that you have some window dressing to hide behind, a skirt to skirt the charges of misogny.  Enter everyone's favorite turncoat Naomi Wolf. 

feminist naomi wolf

(Isaiah's The World Today Just Nuts "'Feminist' Naomi Wolf speaks.")

Wolf's attention-seeking behavior was always present but probably most noticeable when she used The New Republic to 'go to war' with another woman.  While feminists avoided giving the woman attention, avoided even saying her name, Naomi was happy to.

Because it wasn't about feminism.  It was about trying to grab attention.

And the back-and-forth exchanges in the centrist and woman-unfriendly New Republic in the early 90s did get Wolf attention.  Mainly, she received attention for a loose grasp of facts and poor reasoning.  She made herself a public spectacle and a joke.

At one point, she sneered her foe was "the nipple-pierced person's Phyllis Schlafly who poses as a sexual renegade but is in fact the most dutiful of patriarchal daughters."  Wolf was, in fact, describing her own path, the end result of her long journey into public ridicule.

The most dutiful of patriarchy's daughters is Naomi Wolf.  She earned that title when she mocked women who might have been raped, when she held them up to ridicule, when she refused to correct her error-plagued attack on them.  She did all of that in the service of patriarchy.

It was a sick left patriarchy but it was still patriarchy.

For every woman who challenged sexism across the board, there's at least ten Naomi Wolfs who rush in with the intent of ensuring that their pet left male not be challenged on his sexism.

She continues to serve that sick left patriarchy.

Which explains why she joined the attacks on Kathryn Bigelow and Bigelow's film Zero Dark Thirty.

It actually is a good thing Naomi joined in the attacks.  Although we'd noted it was a gender-based attack, many wanted to pretend it was about a film.  Naomi's glorified slam book post isn't about a film.  It's a pompous little girl, not popular enough for obvious reasons, writing in a slam book.

It's most laughable when Naomi huffs:

Then, there is the James Frey factor. You claim that your film is "based on real events", and in interviews, you insist that it is a mixture of fact and fiction, "part documentary". "Real", "true", and even "documentary", are big and important words. By claiming such terms, you generate media and sales traction – on a mendacious basis. There are filmmakers who work very hard to produce films that are actually "based on real events": they are called documentarians.

"They are called documentaries."  Oh, go write about your vagina again, Naomi, you almost knew something about that. 

Film publicity is what Naomi's taking on today.  Look for her next to write a 'personal letter' to  Jason Voorhees decrying the fact that Friday the 13th: The Final Chapter wasn't, in fact, the final chapter or maybe to take on Photoplay for those articles claiming William Eythe just hadn't met the right girl yet.

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