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evil women feminism men who should not ever be with women ever MGTOW misogyny MRA oppressed men rape rapey violence against men/women white knights woman's suffrage

Using the myth of the “Pussy Pass” to justify rape and murder

From MEN-FACTOR

Quite a few MRAs and MGTOWers seem to have have convinced themselves that women rarely if ever serve real time, or face any real consequences, for committing crimes. In the parlance of the manosphere, this is known as the “Pussy Pass.”

Now, this is, of course, almost complete bullshit. Why the “almost?” Because women do in fact receive somewhat lesser sentences when compared with men committing the same crimes. (So do white people, though you don’t hear the MRA crowd talking much about the “Honkey Pass.” )

Are the lighter sentences for women the result of evil feminist man haters? Not so much, Ampersand of Alas, A Blog argues in a thoughtful look at several studies on the subject. The author of one study concludes, as Ampersand summarizes it,

that this may be caused by sexist paternalism among judges; women are seen less as full adults, and as being less capable of being responsible for their own actions, and as a result judges depart from sentencing guidelines to give women lighter sentences.

Another study found that, contrary to what virtually every MRA or MGTOWer would assume, male judges were more likely than female judges to give especially harsh sentences to men.  Let me repeat that: Male judges gave the harshest sentences to men. As the study’s author noted, “the greater the percentage of female judges on a district’s bench, the smaller the gender disparity.” (Emphasis mine.)

Just don’t try telling this to the MRA/MGTOW crowd. We saw the other day how the idea of the “pussy pass” – the notion that “the law does not serve justice” – has led some MRAs to advocate or voice their support for lynching female perps (with what degree of seriousness I don’t know).

Meanwhile, over on NiceGuy’s MGTOW forum, nigeles175d “humorously” suggests that the supposed existence of the “Pussy Pass” should also give guys the right to rape women who happen to give them boners:

[I]f we men cannot control our passions as women often claim, why don’t we get a Dickie PassTM like women get the Pussy PassTM? If women cannot control their tears, their screams, their giggles, and if women are driven to poisoning or murdering their sleeping husbands and use the excuse of years of abuse and being unable to control their mental state, why do we not consider a similar excuse for men. The way some women dress (hint, hint, SlutWalkers) to deliberately entice men to want sex with them, why is it not an exonerrating circumstance in the same way as it is for women? It seems women are never made to take responsibility for their actions, nor are they ever held accountable. Alternatively, if men are not allowed it, but women are, then we’re treating them like children and they don’t deserve the vote or positions of authority.

And of course it all goes back to women having the vote — the source of all evil in the modern world. Attitudes like this are, of course, what make the Slutwalks (and feminism in general) necessary in the first place.

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evil women men who should not ever be with women ever MGTOW misogyny MRA sex sluts thug-lovers video white knights

Smurfette was a stuck-up bitch

Do MGTOWers get their notions of modern romance from old Smurf cartoons? I’m beginning to think they do. As you may remember, the world of the Smurfs was an all-male bastion until evil Gargamel created the creature he called Smurfette from a mixture of

Sugar and spice but nothing nice…A dram of crocodile tears…A peck of bird brain…The tip of an adder’s tongue…Half a pack of lies, white, of course…The slyness of a cat…The vanity of a peacock…The chatter of a magpie…The guile of a vixen and the disposition of a shrew…And of course the hardest stone for her heart…..

Initially an evil, deceitful brunette, Smurfette was transformed by Papa Smurf into a glamorous (and less obviously evil) blonde. At which point Smurfs young and old began falling in love with her, supplicating themselves before her Smurfy beauty. Even Papa Smurf himself had the Smurfs for her, as you can see in the video above – even though, as her co-creator, he was basically her father. Ick. Sometimes Smurfette played her smurfy suitors against one another, inspiring them to even greater depths of supplication.

MGTOWers, and a lot of MRAs, basically see this as the basic paradigm of romance: men jumping through hoops to even get noticed by stuck-up women who need do nothing but exist in order to garner male attention. In the Smurf world, this was because there was only one Smurfette in a village full of lonely Smurfs. In the real world, in which men and women balance out more evenly, well, MGTOWers and MRA recreate the weird Smurfy imbalance by simply declaring most women undateable – too old (if they’re over 25 or 30) or too fat (with BMIs over 25). Hey presto! Now men, much like Smurfs, can compete against one another for the same small number of women, making almost everyone miserable in the process, especially themselves.

In Smurf world, of course, Smurfette is chaste and pure; she may kiss the boys but that’s about it. This hardly comports with the MGTOW notion that women are all slutty sluts, bedding down with every thug-boy and alpha male who makes their ‘ginas tingle, to use the peculiarly offputting parlance of the misogynist set. Natually enough, a few creative internetters have reimagined Smurfette as a Smurfslut. Warning: this video may destroy your image of Smurfette forever. This one’s worse.

Oh, and for an interesting discussion of the misogyny and apparent anti-Semitism of Smurf creator Peyo, see here.

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crackpottery creepy MRA reactionary bullshit sex white knights

>Guys, you’re not helping: The Dear Woman video

The video above, which has been making the rounds of the manosphere, is one of the creepiest and most off-putting things I’ve seen since watching Dogtooth a couple of weeks ago. Actually, I take that back: Dogtooth was much less creepy and off-putting. I was so repelled by what I saw in this video that it literally took me several tries to get through the whole thing. And no, it’s not some weird misogynistic rant by the likes of Bernard Chapin. Oh, no no no. The misogynists of the world are as repelled by the video as I am, though for radically different reasons. Titled “Dear Woman,” the video was actually put together by a couple of self-described “conscious men” who think they’re doing a great favor to the women of the world.

To which I can only say: Guys, stop it, you’re not helping.

If you can stomach it, the video is worth watching in its entirety. If not, here’s what you’re missing: The video is the work of a couple of New Age gurus — Arjuna Ardagh and Gay Hendricks, Ph.D – who, with the help of a little gaggle of guys, have written a little manifesto “apologizing” to the women of the world for all the bad shit done by men to women over the centuries. Or, as they put it:

I feel deep love, great respect and a growing sense of worship for the gifts of the feminine. I also feel deep sorrow about the destructive actions of the unconscious masculine in the past and present. I want to apologize to you and make amends for those actions, in order to bring forth a new era of co-creation with you.

The first step in “making amends,” evidently, was to gather together a group of men – some of whom seem to have been roped into it in the middle of a garden party — and to somehow convince them to read out loud the entire text of this manifesto. (The full text is here, but it’s much creepier when it’s read out loud.)

There is something about this manifesto, and the men reading it, that is so “off” that it may well make your skin crawl, and make you wonder how many of the men in the video have dead bodies secreted away in the crawl spaces under their homes. A female friend I showed the video to could only make it through the first couple of minutes before switching it off in horror; one commenter on Metafilter reported that it “made the hairs on the back of my neck stand up, and not in a good way. Eeew.”

The creepyist, skin-crawliest part of the video has to be the section in which the assembled men talk about women’s bodies:

I honor the beauty and integrity of your body. When we worship each other through our bodies with awareness and devotion, there are no boundaries to the love that we can generate. I feel sorrow that men have used your beauty as a form of commerce in prostitution and pornography. In the grip of lust we have often lacked the skills to ask gracefully for intimacy or to take ‘No’ for an answer. I take a stand against any form of enforced or soulless commercialization of woman’s beauty, and I respect that your body belongs to you.

I honor your capacity to listen to your body and its needs for food, rest and playtime.

I feel confident that I speak for many when I say “ewww.” Somehow I’m reminded of Saturday Night Live’s hot-tub-loving “lovers.”

It’s worth pointing out that the written manifesto refers to men and women “nurture[ing]” one another’s body; apparently no one noticed that the dude reading this passage in the video had turned nurturing into “worship.”

As one commenter on Metafilter put it:

“We worship women” sounds like something Buffalo Bill would have said if he had a PR agent. My guess is that they’re sickos who seem really earnest at first but it turns out that they’re actually trying to collect used tampons for onanistic purposes or something.

So what is it, aside from all this worshiping, that makes the video so creepy? Part of the problem is that these “conscious men” are, in their own way, as patronizing and sexist as any manosphere dudes “mansplaining” about how all women only want to fuck alpha guys. Women, in their view, are inherently peaceful earth-mother types. “I commit now to … honoring the spirituality of the divine feminine,” the guys tell us. “I honor your deep connection to the earth.” 

The manifesto is overflowing with this kind of shit. No matter how “New Age” these guys think they are, these are some truly ancient, and quite thoroughly retrograde, notions.
But that’s just what makes them wrong and misguided. What is it that causes viewers to pick up that whole serial-killer vibe?
I think the answer to this can be found in a book called The Gif tof Fear by security expert Gavin de Becker. The book attempts to explain why our intuitions about creepy people are so often correct. There’s a good reason you feel uneasy around certain people; that’s your unconscious picking up on real, if hard to pin down, signals of danger.
De Becker also lays out some of the techniques predators use in an attempt to allay the suspicions of those they’re trying to victimize. One of the sneakiest? The unsolicited promise, which often means the very opposite of what is said. When someone tells you, out of the blue, that they “aren’t going to hurt you,” it’s often a very good sign that that’s exactly what they’re going to do. When someone feels the need to tell you, apropos of nothing, that he “honor[s] the beauty and integrity of your body” and “respect[s] that your body belongs to you,” you may well want to run screaming. 
Even more than the unsolicited promises, I think it’s the unsolicited apologies in the Dear Woman video – so similar in intent to unsolicited promises — are a large part of what is setting off alarm bells in so many viewers. When a young guy in the video takes personal responsibility “for dragging you into … wars, and for the rape, murder, broken hearts and damaged families that resulted from them,” that’s just plain … weird, given that (unless he’s some young despot I’ve never heard of) he’s not actually responsible for any of this.
The “unsolicited promise” is similar to what de Becker calls “loan sharking” – offering unsolicited “help” in order to make victims feel obligated in some way to their unwanted helpers. In the manifesto/video, this “help” is abstract, but the strategy seems to be the same:
From this day, moving forward, I vow to treat your heart as the sacred temple it is, and I commit to honoring the feminine in you and me and in my relationship to all life.
 
Uh, who the fuck asked you to treat anyone’s heart as a “sacred temple?”
The manifesto/video is also filled with examples of “forced teaming,” another strategy favored by predators who want to convince their victims that they are in fact working together to do the very same thing:
I know that by leaving the past behind and joining hands in the present, we can create a synergy of our strengths. Together, there is nothing we cannot do.
(For a fuller explanation of some of de Becker’s ideas, take a look at this post on saying “no” on Captain Awkward’s excellent blog, which I’ve drawn on heavily here.)
But there’s something else about the video that adds to the sense that something is not right here: no matter how earnest all the men in the video are trying to sound, none of them (except perhaps the two ringleaders) seem to really believe the ridiculous things they’re saying. Instead, they seem to be, with varying degrees of insincerity, mouthing a series of essentially meaningless New Age platitudes – in short, simply saying what they think women want to hear.
No one is buying this bullshit, guys. Give it up.

If you enjoyed this post, would you kindly* use the “Share This” or one of the other buttons below to share it on Twitter, Facebook, Reddit, or wherever else you want. I appreciate it.

*Yes, that was a Bioshock reference.

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antifeminism MRA oppressed men rape rapey reactionary bullshit transphobia violence against men/women white knights

>The Low Spark of High Heeled Boys

>

I’m walkin’ here!

Pierce Harlan of the False Rape Society has broken past the limits of mere logic, arguing that the fact that a small number of guys at a couple of events have put on women’s clothing to raise money for women’s causes means that rape culture doesn’t exist. That seems to be the main message of a post of his today with the baffling title “Boys in bras, boys in heels, boys in pink — all to raise money for women’s causes: Is this the ‘rape culture’ we hear so much about?”

Harlan, posting as “Archivist,” complains about several recent campus events, in which college guys have literally put on heels (to raise money and awareness about sexual assault) and bras (to raise money for breast cancer research). Harlan isn’t thrilled about the causes themselves: he has sneeringly derided sexual assault awareness as “a supposedly good cause” and, while acknowledging that breast cancer research is theoretically a good thing, he’s evidently tired of hearing about it.

But he seems even more hot and bothered about the cross-dressing by guys he calls “chivalrous clowns,” describing the bra-wearing as “creepy” and deriding the guys “prancing around in high heels.” Apparently, as Harlan sees it, these fellows are just doing it to impress the chicks:

young men will do pretty much anything to help, to curry favor with, and to be admired by young women.

It is heinous to suggest that attitudes of sexual aggression and dominance over women are normalized, rationalized, and excused by the alleged beneficiaries of “patriarchy” in our culture. In point of fact, the foolish young buffoons in heels and bras are far more representative of young masculinity in our culture than is the young rapist. 

There’s not a lot of logic in this, er, argument, but in an earlier posting Harlan elaborates on the distaste he feels towards the “Walk A Mile In Her Shoes” event, which was held at the University of Montana (clearly a hotbed of radical feminism). 

It would be downright shocking if this or similar events ever prevented a single sexual assault from occurring because: (1) prancing around in high heels and similar useless stunts has nothing to do with preventing sexual assault; and (2) the vast majority of young men who strutted their stuff and who participate in such events are highly unlikely to ever rape a woman.  …

If we want to curb sexual assault, we need to teach our young people the truth, but the truth doesn’t jibe with the current rape meta-narrative that holds only one gender responsible for stopping it. …

Young people generally do not understand that women experience much greater after-the-fact regret than men do. Sometimes feelings of regret are translated into feelings of “being used,” and sometimes feelings of “being used” are misinterpreted or purposefully misconstrued as “rape.”

Asking the police, a judge, or a jury to sort out what happened in an alcohol-fueled tryst based on a “he said/she said” account puts an impossible burden on our law enforcement and judicial apparatuses. …

There is no “rape culture”; there is no “rape continuum.”  Rape is committed by social deviants, not the nice boy next door. It is almost a certainty that none of the charming young buffoons who strutted around in women’s heels yesterday will ever rape a woman. …

The sad, politically incorrect fact of the matter is that young women have far more power to stop rape than innocent young men by not putting themselves in situations where rape is more likely to occur. 

There’s a lot of bullshit condensed into these short paragraphs. There’s victim-blaming, of course: do we regularly attack murder victims for “putting themselves in situations where murder is likely to occur?” There’s his weird complaint that actually investigating and prosecuting date rape puts an “impossible burden” on police and the judicial system: should we simply stop enforcing laws against all crimes that are hard to investigate or prosecute? And there’s his unwillingness to accept the simple fact that rapists all too often do look exactly like the “nice boy next door.” As for his complaint that these events target the wrong people, see here for an argument as to why it makes sense to raise awareness specifically amongst those men who are NOT likely to rape women. 

In the past a few MRAs have asked me why I put the False Rape Society blog in my “boob roll” — and formerly in my “enemies list.” This is why. Spreading blatant misinformation and blaming victims: these are not exactly good ways to actually reduce the number of men falsely accused of rape.

And here’s another thought for the MRAs reading this, Harlan included: if you are truly as concerned about testicular or prostate cancer — or any other male malady — as you so often and so loudly claim to be, take a few moments away from your constant complaining about feminism and/or women, and actually hold a fund raiser yourselves. In a comment on his latest post, Harlan writes: “My problem is this: how about an event to raise funds for male suicide, etc. once in a while?” You know how events like these happen? PEOPLE ORGANIZE THEM. There is nothing stopping MRAs from organizing such an event on their own. How about it, guys? 

If you enjoyed this post, would you kindly* use the “Share This” or one of the other buttons below to share it on Twitter, Facebook, Reddit, or wherever else you want. I appreciate it.

*Yes, that was a Bioshock reference.

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Uncategorized violence against men/women white knights

>Lucky McKee at Sundance: The Woman and the White Knight

>

The Woman

After a midnight showing of horror director Lucky McKee’s The Woman at Sundance this past Sunday, right before the scheduled Q and A with the director, one irate moviegoer stood up to denouce the film, the director, and Sundance itself. According to film blogger Drew McWeeny, who was there, the unidentified man shouted:

“THIS MOVIE DEGRADES WOMEN! THIS MOVIE DEGRADES MEN! YOU ARE SICK! THIS IS NOT ART! YOU ARE SICK! THIS IS A DISGUSTING MOVIE! SUNDANCE SHOULD BE ASHAMED! HOW DARE YOU SHOW THIS!”

Ultimately, after a bit more of this sort of ranting, he was escorted out of the theater by security guards. You can read more about the incident, and see a couple of videos that capture its aftermath, here; you can read McKee’s response to it all here.

So what’s the connection to this blog? At this point, many of my regular MRA and other manosphere readers will no doubt have concluded that I will be joining the irate moviegoer in denouncing McKee’s alleged misogyny. If so, this will not be the first time (or even the first time today) that they have been utterly and completely wrong.

No, It’s because the incident provides such a clear example of a “White Knight” in action: someone who seems to think that women are delicate flowers that he, as a man, needs to protect from images of women being brutalized.

MRAs and other manosphere men love to denounce feminist men as “White Knights.” And sometimes they are justified in their complaints: there are men who consider themselves feminists who  do indeed put women on a pedestal, and who talk about women as if their shit smells like roses. But that’s not really feminism; it’s a patronizingly traditional view of women masquerading as feminism. Real feminists don’t pretend that women don’t have flaws. White Knights do.* Real feminists don’t assume that women are too sensitive and delicate to see harsh images. White Knights do.

The irony of the kerfuffle at Sundance is that McKee is about as far from a misogynist as any director I know. Though, as far as I know, McKee doesn’t actually call himself a feminist, his films reflect a subtle, nuanced, and sympathetic view of women — at their best and, just as importantly, at their worst — that can only be called feminist. As McWeeny notes, McKee’s

sensitivity towards his actresses, and the perspective each of his films takes, is practically political.  He returns to themes of power inequality and gender struggle, and he externalizes his subtext.  He has been consistent in his interests, and as a result, he hasn’t been making $50 million studio films.

His films May and The Woods, and his Masters of Horror episode “Sick Girl” all center around female lead characters. But he doesn’t, as a real “white knight” would do, portray women as angels or innocent victims. No, he portrays them as, well, human beings. That is, as messy and complicated characters with flaws and evil impulses.

In May, while he is empathetic towards weirdo loner May, he also makes clear she’s out of her fucking mind, a creepy stalker and a violent sociopath to boot; she’s both the protgonist and the villain of the film. Nor does he portray men as mindless evil thugs: in Roman — which he wrote,  but which was directed by his frequent collaborator Angela Bettis, who played the lead in May — he plays, er, Roman, another strange outcast and creepy stalker, and manages to render him quite sympathetic, despite the fact that the socially stunted,  sexually and romantically frustrated character (SPOILER ALERT — highlight to read) actually kills a woman while trying to rape her early on in the film. 

In The Woods, a more mainstream horror film, McKee portrays the almost-all-female world of a private girl’s school in the 1960s; he does a marvellous job getting into the head of the troubled girl at the center of the film, and plays with female stereotypes in a way that challenges and surprises the viewer. (I’m being deliberately vague here so as not to give too much away.) The villains in the film? All female.

Still, I can see how a less-than-careful viewer might get the impression that McKee hates women: many of his female characters, both women and girls, are crazy, violent, and sometimes simply evil; he isn’t afraid to show women being brutalized — or brutalizing others. In this view, if you portray a female character as evil, you therefore think all women are inherently evil; if you portray violence against women you aid and abet real-world brutalizers of women.

That’s the essential complaint of one putatively feminist critic on Pajiba, Dustin Rowles, who saw The Woman at Sundance:

The more images of sexualized and subjugated women we see, the less likely things are going to improve. They perpetuate steretypes about women. Lucky McKee’s The Woman is the perfect example of this.

Correction: Rowles saw PART of the film at Sundance, then walked out:

I’m certain that, like many rape-revenge fantasies, the men get their commuppance in the end, both the father and his son, who has taken after his father. I wouldn’t know — I couldn’t make it past the scene where the woman is power washed.

Criticizing a film without watching the ending — particularly a horror film based around a rape-revenge plot — is a bit like criticizing a joke without hearing the punchline.

Now, again, I haven’t seen even a minute of The Woman either, so maybe it is really a long exercise in violent misogyny. Given McKee’s past work, and the nature of the complaints against the film, this seems about as unlikely as Sarah Palin sprouting wings, reading a book, and/or endorsing a handgun ban.

What really strikes me is that the complaints directed at The Woman are similar to those directed against numerous other horror films in the past, particularly those centered around rape and revenge, like the notorious low-budget shocker I Spit On Your Grave, which inspired a infamously indignant, and rather White-Knighty, column from Roger Ebert that completely and utterly missed the point of the film. It was, he wrote,

a movie so sick, reprehensible and contemptible that I can hardly believe it’s playing in respectable theaters. … an expression of the most diseased and perverted darker human natures, Because it is made artlessly, It flaunts its motives: There is no reason to see this movie except to be entertained by the sight of sadism and suffering. As a critic, I have never condemned the use of violence in films if I felt the filmmakers had an artistic reason for employing it. “I Spit on Your Grave” does not. It is a geek show.

Ebert was angry about the brutal and graphic sexual violence directed at the female lead in the first part of the film — that is, before she sets out on her (brutal, graphic, violent) revenge against the men who brutalized her. Never mind that the central plot of, say, your typical Western movie features a hero who has to endure horrific violence and pain before exacting his revenge at the end — and that this formula has produced a vast library of amazing films.

Ebert rightly considers The Good, the Bad and the Ugly to be a “masterpiece.” You may recall some of the crazy and brutal shit Clint Eastwood’s Blondie had to endure in that film — you know, like that walk through the desert that left his skin looking like pulled pork. Why is violence against men, in the context of a revenge drama, artistically justified, while violence against women, also in the context of a revenge drama, not?

By allowing its brutalized heroine the same chance for revenge that Westerns offered many generations of heroes, I Spit On Your Grave is, while hardly a great film, a feminist one. Indeed, it offers one of the most memorable depictions of what has come to be known as “the final girl,” a character familiar to horror movie fans — that is, the one victim, invariably female, who manages, through wily evasions and sheer force of will, to survive the assaults of the monster or psycho at the center of the film. Here’s how feminist film critic Carol J. Clover described her in the legendary essay “Her Body, Himself: Gender in the Slasher Film,” which first introduced the notion of the”final girl” to film criticism:

The image of the distressed female most likely to linger in memory is the image of the one who did not die: the survivor, or Final Girl. She is the one who encounters the mutilated bodies of her friends and perceives the full extent of the preceding horror and of her own peril; who is chased, cornered, wounded; whom we see scream, stagger, fall, rise, and scream again. She is abject terror personified. If her friends knew they were about to die only seconds before the event, the Final Girl lives with the knowledge for long minutes or hours. She alone looks death in the face; but she alone also finds the strength either to stay the killer long enough to be rescued (ending A) or to kill him herself (ending B). She is inevitably female.

Halloween 2: Final Girl in action

As Clover notes, in some horror films, like The Texas Chainsaw Massacre and Halloween, the final girl merely endures; in others, like A Nightmare on Elm Street, she triumphs. Most of these final girls don’t start out as badass in the slightest; if anything, they tend to be nerdy, awkward introverts. The brutality they endure is necessary to understand their transformations.

“Protecting” female film characters from violence also “protects” them from having agency in their own stories. Portraying them as free of evil thoughts and urges is similarly patronizing and ultimately disempowering. Women in the real world aren’t angels, and there’s nothing feminist about portraying them as such. Like McKee, most feminists are well aware of this.  True “White Knights” — male or female — do the women they hope to uplift a disservice, treating them as one-dimensional characters in some simplistic morality play. Women, like men, deserve better than that.

* This is not to say that we should overlook the simple fact that women are more likely to be brutalized by men than vice versa — that men commit far more violent crimes and sexual assaults against women than women do against men, that men cause the majority of serious injuries associated with domestic violence. Women, like men, have violent impulses. But they are less likely than men to act upon them in ways that seriously damage others, male or female. To point this out is to recognize reality; it is not a case of White Knighting.

If you enjoyed this post, would you kindly* use the “Share This” or one of the other buttons below to share it on Twitter, Facebook, Reddit, or wherever else you want. I appreciate it.

*Yes, that was a Bioshock reference.

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