After enduring a half-century of radical feminist male-bashing, men must once more come to rescue women from disaster, if not extermination. The Left’s fear and loathing of real men goes so deep, and its cultural domination is so great, the “gentle” sex has become collateral damage in the attempt to destroy them. While women fundamentally deserve their extinctive fate for letting themselves get swept away by this suicidal anti-masculinity, men need them more than a fish needs a bicycle — to flip a moronic phrase by feminist golden girl, Gloria Steinem. Though men could much more easily live without women than the reverse, they never berated the opposite sex the way women did them, forming a massive political and artistic black hole that is now devouring them.
It is the artistic aspect that most fascinates me. Few entities have done more damage to women’s interests this century than Hollywoke. The very industry that idolized and influenced women throughout the 20th century, now makes them appear as ugly, dull, and sexless as too many have become in life. The denial of sexual distinction on screen has accelerated the destruction of both the entertainment business and the feminine mystique. This double jeopardy obliterated an entire movie genre that had sustained the art and audience since the silent age — the romantic comedy. Because the genre depended entirely on the difference between the sexes, a difference that became politically unacceptable.
The fact that women loved the rom-com — and still do — and made contemporary stars out of Meg Ryan (When Harry Met Sally), Julia Roberts (Pretty Woman), Katherine Heigl (Knocked Up), and others —could not equal the insane rush to unisexuality. Heigl’s career booster, Knocked Up, depended entirely on the sole domain of a woman, her pregnancy, and a man realizing he has to take care of her as a husband and father. If any studio executive pitched a similar scenario today, he or she would be immediately fired, although the movie might make a hundred million dollars. In Hollywoke, virtue signaling trumps profit.
That a once influential art form has become a laughingstock precisely because of its unreal projection of women and hatred of men carries little weight with producers. Every sane person outside their bubble can see and mock the dichotomy. The Daily Wire’s Ben Shapiro did just that in his most recent podcast. “The person who is going to be featured on a TV show will be the single mom who put herself through medical school and then ended up as a doctor. The person who won’t be featured on a TV show is my wife, who got married, went to medical school, had kids during medical school, and is now a doctor.”
Classic cinema and television recognized every category of real women — very much including those since erased because of their acceptability or desirability to men — and popular actresses were happy to be identified as each. They ran the gamut from housewife (film — Myrna Loy [The Best Years of Our Lives, Mr. Blandings Builds His Dream House], June Allyson [Executive Suite], Doris Day [Please Don’t Eat the Daisies, The Thrill of It All, Move Over, Darling], TV — Elizabeth Montgomery [Bewitched], Florence Henderson [The Brady Bunch]) to vamp (film — Harlow, Hayworth, Monroe, Turner, Stone), TV — Tina Louise [Gilligan’s Island], Suzanne Somers [Three’s Company], Catherine Bach [The Dukes of Hazzard]).
Neither type exists on screen today because, according to the dominant liberal culture, men suck. By this standard, who the hell are men to expect a wife to stay home and raise kids while they work hard to provide for them? As for the vamp type, women aren’t meant for “the male gaze,” so take your sexist eyes off Ginger (Gilligan’s Island) or those Daisy Duke shorts (The Dukes of Hazzard).
Ironically, the same “entertainment” guardians who could never match even the mediocre wit of The Dukes of Hazzard or Three’s Company would rather no one see those old shows and realize that. They no longer have to worry about the Dukes since the series producers committed the unpardonable sin — though at the time popular idea — of having a Confederate flag on the heroes’ car, which now makes series reruns harder to find than a Charlie Chan film festival. Now they want to erase Three’s Company.
Its transgression, reports Christian Toto on his excellent Hollywood in Toto site, was having the protagonist pretending to be gay. So, the millions of viewers who made the show a hit from 1976-1984 were all homophobes. How long before the BBC’s pick for “the Greatest Comedy of All Time,” Some Like It Hot, not only gets booted from the list but banned, since Tony Curtis and Jack Lemmon spend most of the film pretending to be women, and, worse, ogling Marilyn Monroe? Maybe the new woke editors reconfiguring James Bond and Hercule Poirot books can add a line where the two men identify as women.
All leftist canards reach the point where they cannot continue without the total rejection of reality, which is now erasing women. A man can become one, many feminists insist, yet their “sisters” are paying a heavy price for embracing the original lie of female liberation. And though brave women like swimmer Riley Gaines and Harry Potter author J.K. Rowling are battling the extremists of their gender, they need men to help them win. Anheuser-Busch executives learned this lesson when they celebrated carnival clown Dylan Mulvaney as a Bud Light heroine. Their sales are still tanking.
In Florida, last week, Governor Ron DeSantis signed new protections against transgender madness, including the forced use of pronouns in schools. “We are not doing the pronouns Olympics in Florida,” he said. Which just goes to show girls can count on a knight in signing armor.