I don’t know if some of you have been to these live reads at LACMA, where a classic film is read live on stage by actors who just sit and read the script. We did one recently of American Pie, but we reversed the gender roles. All the women played men; all the men played women. And it was so fascinating to be a part of this because, as the women took on these central roles — they had all the good lines, they had all the good laughs, all the great moments — the men who joined us to sit on stage started squirming rather uncomfortably and got really bored because they weren’t used to being the supporting cast.
It was fascinating to feel their discomfort [and] to discuss it with them afterward, when they said, “It’s boring to play the girl role!” And I said, “Yeah. Yeah. You think? Welcome to our world!
- Olivia Wilde crushing it when she talks about women in Hollywood. (via leanin)
In the meantime, young women are still left to negotiate sexual encounters based on a model in which the central aim is still first and foremost to satisfy male sexual desires. The new politics of choice have thus had the cumulative effect of making young women’s continued experiences of sexual pressure, coercion and violence increasingly difficult both to name at an individual level and to subject to concerted political action at a societal level.
In this post-feminist context it has become difficult to be openly critical of sexual mores (even those regarding consent and sexual violence) without being labelled anti-choice, anti-sex and seen as rejecting the very sexual freedoms that feminism fought to achieve. This in turn demonstrates how fields of interaction can indeed be re-moulded (as feminist adaptations of Bourdieu have suggested). However, in this particular case it is a re-packaging of old gender norms within a rhetoric of choice that both resists any substantive challenge to the underlying gender structure and obscures the persistent operation of male power and dominance within sexual encounters that continues to exist
The stereotype of the ugly, unfuckable feminist exists for a reason – because it’s still the last, best line of defence against any woman who is a little too loud, a little too political. Just tell her that if she goes on as she is, nobody will love her. Correct me if I’m wrong, but I’ve always believed that part of the point of feminist politics – part of the point of any sort of radical politics – is that some principles are more important than being universally adored, particularly by the sort of men who would prefer women to smile quietly and grow our hair out