The Feminist Caricature of a Whore

In 1972, Marlon Brando starred in the foreign erotic picture Last Tango in Paris. Co-starring Maria Schneider and filmed on location in Paris, its director Bernardo Bertolucci constructed a portrait of a recently-widowed middle-aged American named Paul (Brando), who becomes involved in an anonymous sexual relationship with a young Parisian woman, Jeanne (Schneider), in the standard-bearer for future challengers to the erotica genre like 50 Shades of Grey, Basic Instinct and Eyes Wide Shut. Over 45 years after the Franco-Italian film hit theaters, controversy over circumstances leading to the infamous anal sex rape scene seems more relevant than ever in the wake of Hollywood’s hypocrisy related to Harvey Weinstein and others’ allegedly ‘exploiting women’ all too willing to ‘put out’ in order to get ahead as if part of an internalized ‘get rich quick’ scheme. After all, women are natural exhibitionists, whether or not they choose to admit it. And many, like a common black widow, spin their webs of deceit through seduction. Indeed, how can any man not agree with the late Ogden Nash’s assertion when he quipped “I have an idea that the phrase ‘weaker sex’ was coined by some woman to disarm the man she was preparing to overwhelm”? In an industry where ‘sex sells’, Meryl Streep and Oprah Winfrey likely see feeding Weinstein fresh young meat as part of an underground conveyor belt for diamonds in the rough as just another part of the job. They might as well have held up a sign reading “Just go in, lie flat on your back, open wide and spread your legs, smile, and think of all those millions of dollars to flow your way by allowing Harvey to come and go as he pleases. It’ll only hurt a second.”


Marlon Brando Quote for Website Last Tango in Paris


After all, up-and-coming starlets need only worry about capitalizing off their current market value by making sure the ‘the gettin’ was good’ for Harvey. Because of this then, the entertainment industry merely reflects the submission-and-domination fetish culture served up in lumps of coal fueling the fire of history’s women in scorn riding their locomotive of rage. But lumps of coal, be it Kingsford or the Hollywood variety, eventually burn out, given the natural law of diminishing returns.


Like the Caricature of a Whore Wallpaper Final
Original artwork by Jonathan P. Henderson, owner and editor-in-chief of The Conservative Historical Review.

Lest we ever feared, the farcical #MeToo movement expanded into the music industry’s top night of visual debauchery (the Grammy Awards). The many misogynist rappers donning white, perhaps a simple white rose penned to their jackets, out of some pitiless misplaced show of solidarity, demonstrated as did the Golden Globes weeks ago how many ‘victims’ appear accidentally clothed. At least with Eve, there existed the presence of guilt when attempting to cover her genitals for initiating the Original Sin. And boy, have Hollywood and the music industry succeeded painting feminism for the caricature of a whore it really is — or what the equally debauched Brando (Paul), in his agony, emotes in his monologue while sitting next to his wife’s (Rosa) corpse, when ‘disclosing’ his discovering more about her true nature from a box containing all her ‘little goodies — pens, key chains, foreign money, French ticklers… even a clergyman’s collar’ — than in their life together.



Not to be outdone was of course Hillary Clinton, whose impeccably-timed cameo included reading from Michael Wolff’s apocryphal libelous ‘satire’ Fire and Fury only days after lying about Nikki Haley and the president’s alleged affair. Neither the irony nor the matter Wolff’s claims are beyond the pale of decency ever occur to the pathological liar and former First Lady. After all, Hillary is well-acquainted with aiding her husband, her meal ticket, with ‘holding down’ his ladies of leisure — and Mrs. Clinton’s rehearsed shock which took days to condemn Weinstein after news broke appear less genuine only by her utter disregard for her predacious husband’s behavior.

The #MeToo movement has failed because feminists paint themselves for the ‘ho’s’ behind ‘hos not embryos’ signs that they are. That curious one-night stand (or was it ‘rape’?) between ‘Grace’ (perhaps the nomme de plume of ‘feminist journalist’ Caitlyn Flanagan) with far left Arab comedian Aziz Ansari as narrated in Flanagan’s ‘3,000 words of revenge porn’ elicited countless ‘atta girl’ responses to Grace’s ‘story’ by sympathetic far left-wing sites like Vox and Salon, suggesting that the #MeToo movement quickly revealed its true agenda was not just a protest of workplace harassment, but a broader uprising among young women against bad sex with their male partners. Like most on the Left discontented over the acceptance of Truth in this non-utopian world, women have crossed a line beyond mere male predation. As National Review’s Mona Charon notes, “we are seeing in the broader culture… something that has been evident on college campuses for some time — women are unhappy about the state of sex and romance. They feel pressured, they feel disrespected, and they are fighting back.” The sense of feminine entitlement through exalted sexual licensing and commodification has led to redefining permissible sex behind one party’s account of relative ‘coercion’. As a result, the terms ‘rape’ and ‘assault’ have become obfuscated through the further denigration of English semantics, whose narrative will remain, indefinitely, that women are internally misogynist who will not scream ‘I hate men’ with their fists pumped high, that good sex is a natural right and only remains consensual before another Gracie comes along, lying that “I had to say no a lot. He wanted sex. He wanted to get me drunk and then fuck me.” She may not have liked it, but she still ‘went down’ on Ansari, never walking out, willingly sleeping with him after superficially ‘saying no’. She fooled around with him just enough to write of the experience under a pseudonym, determined to get in her 15 minutes of fame even if it left a bitter taste in her mouth.

Honesty today is entirely conditional according to pop culture. Consider the following scene from the 1997 comedy Liar Liar, starring Jim Carrey as Stanley Reede, who cannot tell a lie to his boss (played by Amanda Donohoe) after sex, nor to his sexy new neighbor wearing a low cut top (played by Krista Allen) after his son Max wishes that he wouldn’t lie for a full day.



The greatest mistake in all civil societies was to permit unfettered access for women into the man’s world. This has resulted in the feminist agenda of ‘masculinity cleansing’ (as opposed to ‘ethnic cleansing’). Women more than men acquire fame by selling sex; after all, nothing is cheaper than the human body in the marketplace, and men are far more receptive than women to visual stimuli. The most profound affirmation into this collective emasculation by The Weekly Standard’s Heather MacDonald explains that because “Campus feminists are reimporting selective portions of a traditional sexual code that they have long scorned, in the name of ending what they preposterously call an epidemic of campus rape… Sexual liberation is having a nervous breakdown on college campuses.” By requiring young men to suddenly relearn to be “the guardians of female safety” three generations after the legal death of chivalry, the lying Jezebels have their cake and eat it too, still the “fainting, helpless victims of the untrammeled male libido.” Big Brother slyly reentered the university dormitory once Claremont McKenna College issued guidelines articulating “the obligations of… an affirmative, conscious decision by each participant to engage in mutually agreed upon (and the conditions of) sexual activity’,” followed by an even more absurd Harvard University position affording “females unfettered discretion after the fact to allege that they were sexually assaulted by conduct they silently regarded as ‘undesirable.’”

The balance between the sexes has been obfuscated. Jean Jacques Rousseau notes in Emile that “Women have ready tongues; they talk earlier, more easily, and more pleasantly than men… eyes and mouth are equally busy and for the same cause.” But a man, he writes, “says what he knows” when compared to how “a woman says what will please.” And why? Because “the one needs knowledge, the other taste; utility should be the man’s object; the woman speaks to give pleasure.” The woman’s natural eroticism will arouse men to reciprocate in kind. But furthermore, “There should be nothing in common (between the sexes) but truth.” It is as simple and elementary as admitting that boys have a penis and girls have a vagina.

If you find MacDonald unpalpable, then consider radical feminist professor Dr. Laura Kipnis’s op-ed in Chronicles of Higher Education regarding her sudden terror, aptly titled “Sexual Paranoia Strikes Academe”. Amid wistful reflection for how women have been “infantilized,” Dr. Kipnis’ brief summarization of Jane Gallup’s Feminist Accused of Sexual Harassment fully explains how Gallup’s “… seducing more than one [professor] as a grad student” represents how “Lots of smart, ambitious women” apply their dominance over the bedroom to “experience [their] own power.” This quid pro quo of sex for grades in itself appears to be a de facto sex industry in the academe. And because men historically are ‘the doers’ and ‘providers’ for the family, women have had far more time on their hands to make the home pleasant — and if she is not happy with the marriage, it simply becomes a pleasant parlor of ill-repute, even involving money.

Sex is like a drug; for “So long as chastity is preserved,” according to Rousseau, “it is respected.” But learn of the pleasures arising from the orgasm, the act so it were, and “it is despised” — and “only after having been lost”. Where men desiring to control their own destiny and market value — naturally ‘dependent on the weaker’ sex — ’emotionally’ fall prey to her insidious denial of ‘her goodwill’ wielding “a power of stimulating man’s passions in excess of man’s power of satisfying those passions,” one must question whether it is “weakness which yields to force, or is it voluntary self-surrender,” for this is the age-old mystery behind women’s true nature arousing the ‘uncertainty’ that when answered, is ‘the  chief charm of the man’s victory’. Was it not Eve who seduced Adam in the Garden of Eden, who committed the Original Sin first by consuming the forbidden fruit off the Tree of Knowledge of good and evil under pressure from the ‘cunning’ serpent, later proving cunning enough to create doubt in Adam to disobey the Lord third hand? It is here where ‘the woman’s mind’ applies her physical weakness into her greatest strength as it “exactly resembles her body… providing herself beforehand with excuses, with the right to be weak if she chooses”. Transform a woman psychologically into a man, and like any true Jezebel, she devours even the powerful, successful, wealthy, most intelligent men, if not through the cult of personality based on legally-acquired status, then directly through sex.


Pajama Boy Obamacare
The infamous ‘pajama boy’ ad for the Affordable Care Act.

All these wealthy celebrity sots’ shenanigans provide visible evidence that for over a half century, Hollywood has not only raked in billions off emasculating men by injecting the power of Jezebel into the face of popular culture, but successfully deconstructed the natural progression of masculinity into a terrestrial hell of enslaved, subservient little eunuchs, a captive audience dotted with metrosexuals and pathetic little cuckolds bound, gagged, but intentionally not blindfolded.


The Big Bang Theory
Leonard (right, played by Johnny Galecki) and Sheldon (left, played by Jim Parsons), the protagonists of the CBS sitcom ‘The Big Bang Theory’.

 


Barack Obama and sitcoms like The Big Bang Theory doomed America to a future of nerdy ‘pajama boy’ vermin, and they’re so easy to find at your local college campus. Otherwise, if you still cling to being a man, don’t forget to ask for the bill the next time you hook up with ‘sweet’ Jezebel.

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