Tina Fey and “Sister Souljah” Feminism

by Isabel

“I love to play strippers and to imitate them… . I love using that idea for comedy, but the idea of actually going there? I feel like we all need to be better than that. That industry needs to die, by all of us being a little bit better than that.

Tina Fey, from the January issue of Vanity Fair

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1998 to Infinity

by matttbastard

Shorter Maureen Dowd:

“It’s still all about The Clenis.”

*headdesk*

MoDo + Clinton = burning stoopid yanked from her backside (pass the Preparation-H.) Seriously, by now the question is largely rhetorical (if ubiquitous), but still bears repeating: Why the fuck does this worthless, (hetero)sexist hack still have a job at The Gray Lady? She stopped being funny and ‘edgy’ (let alone relevant) when Technotronic was topping the pop charts.

As Jesse Taylor bitterly noted in June:

I no longer wonder why the New York Times lacks the respect for their history necessary to fire Dowd and put in anyone or anything – the obituary editor, some classifieds, random pictures of squirrels in Central Park – that would restore a modicum of relevance to the space she occupies. I just wonder why Dowd lacks the self-respect to use the great gift she’s been given to do anything worthwhile.

Couple this latest waste of broadsheet with Camille Paglia’s ignoble return to the public spotlight (hooray for reflexively contrarian attention seeking!), and you have two of the worst practitioners of cynical mid-90s opinion-shillery once again asserting undeserved prominence in the dreaded Em Ess Em.

Wake me up when we finally hit the new millennium (and blowjobs stop being issue #1 in The Village.)

h/t Sylvia/M via IM

Flashback: NYT public editor Clark Hoyt provides a laundry list of reasons why MoDo should never, ever be published in a paying market again.

And yet…

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