. There’s a sentence in Michael Wolff’s book “Fire and Fury” that hasn’t gotten the attention it deserves. It comes toward the end, when Steve Bannon is praising Trump’s lawyer Marc Kasowitz: “Kasowitz on the campaign — what did we have, a hundred women? Kasowitz took care of all of them.”
.. If it turns out there were payoffs to hide non-consensual behavior, there may be an uproar. But sleeping with a porn star while your wife has a new baby, then paying the porn star to be quiet? That’s what everyone expects of this president.
I don’t think it’s a coincidence that the right’s tacit embrace of a laissez faire approach to sexuality — at least male, heterosexual sexuality — coincides with attempts on the left to erect new ethical guardrails around sex.
.. In the 1990s, many feminists defended untrammeled eros because they feared a conservative sexual inquisition. Elements of that inquisition remain; attacks on reproductive rights have grown only more intense. Still, Trump has reconciled reactionary politics with male sexual license. In doing so, he’s made such license easier for feminists to criticize.
.. Among feminists, reaction to the piece broke down roughly generationally. Grace interpreted her experience as sexual assault, but several older writers saw it as a story about caddishness and bad sex, neither of which justified the invasion of Ansari’s privacy. In The Atlantic, Caitlin Flanagan described it as “3,000 words of revenge porn” inspired by romantic disappointment.
.. I agree with Flanagan that the bad behavior Grace described doesn’t rise to the level of assault or harassment, and I don’t think Babe should have published the story. Still, I can sympathize with the younger feminists who are pushing the limits of the #MeToo movement. They are, it seems to me, trying to impose new norms of consideration on a brutal sexual culture, without appealing to religious sanction or patriarchal chivalry.
“A lot of men will read that post about Aziz Ansari and see an everyday, reasonable sexual interaction,” tweeted the feminist writer Jessica Valenti. “But part of what women are saying right now is that what the culture considers ‘normal’ sexual encounters are not working for us, and oftentimes harmful.”
Maybe feminists feel free to express their fury about the path sexual liberation has taken because they no longer need to defend sexual liberation itself from conservatives. In the 1990s, porn culture seemed subversive and chic. Now it’s become repulsively presidential.
Democrats have finally figured out how to turn Trump’s tweets into their own weapon.
The Almanac of American Politics details Sen. Gillibrand’s eye-rolling flip-flops—famous in New York political circles—from upstate House conservative to progressive Senate saint, described in an apparently forgotten New York Times account.
.. With Democrats themselves admitting they have no coherent message that could win a presidential election, the opposition strategy has been built around Mr. Trump’s personality, his alleged collusion with Russia to disable Hillary Clinton, and now the return of the same accusations of sexual harassment that did not cause him to lose the election.
.. Democrats may finally have hit upon the Achilles’ heel that will fell or weaken this president: his tweets.
The tweets have worried Republicans and Trump supporters since they started. Mr. Trump rejects this criticism. He said, with a tweet, that they energize his base. But Roy Moore just lost in Alabama.
.. The biggest nonpolitical story for months has been sexual abuse, starting with Harvey Weinstein. It was only a matter of time before the politicians would figure out how to manipulate harassment for their own purposes.
.. Then on Monday, the day before the Alabama election, came the following: Three women repeated sexual harassment accusations they’d made against Mr. Trump during the campaign; the congressional Democratic Women’s Working Group called for an investigation of the charges; and Sen. Gillibrand called on the president to resign.
.. They have discovered how to make his tweets their weapon.
.. Mr. Trump’s Tuesday-morning tweet suddenly elevated a B-level New York senator, and the media instantly recycled the Trump sexual-harassment details. Doug Jones defeated Roy Moore by just 1.5%, and the Republicans’ Senate majority fell to 51. By day’s end, Sen. Gillibrand was soliciting funds via email for her 2018 election. They figured out how to make the Trump side lose. It’s the president’s move now. Checkmate awaits.
Just how much trouble are Republicans in?
Even expected crowd-pleasers such as recognizing Jerusalem as the capital of Israel get Trump nowhere. (“Just 23% say it is a good idea compared to 39% who say it is a bad idea, with 38% registering no opinion. A majority (51%) think the move will destabilize the Middle East region. Just 10% say relocating the embassy to Jerusalem will make the region more stable and 28% say it will have no effect on the region’s stability.”)
.. There is a price to be paid for treating women and nonwhites with contempt. Republicans have already had a taste of what mobilized women and nonwhite voters can deliver — Democratic victories in Virginia and Alabama. If and when more allegations of sexual assault or harassment come to light (including the names of lawmakers who used taxpayer money to settle claims) the spotlight will once again put the party of Trump on defense.
Harvey Weinstein Is My Monster Too
Knowing what I know now, I wonder if it wasn’t my friendship with them — and Quentin Tarantino and George Clooney — that saved me from being raped.
.. The range of his persuasion tactics went from sweet-talking me to that one time when, in an attack of fury, he said the terrifying words, “I will kill you, don’t think I can’t.”
When he was finally convinced that I was not going to earn the movie the way he had expected, he told me he had offered my role and my script with my years of research to another actress.
.. he gave me a list of impossible tasks with a tight deadline:
1. Get a rewrite of the script, with no additional payment.
2. Raise $10 million to finance the film.
3. Attach an A-list director.
4. Cast four of the smaller roles with prominent actors.
Much to everyone’s amazement, not least my own, I delivered, thanks to a phalanx of angels who came to my rescue, including Edward Norton, who beautifully rewrote the script several times and appallingly never got credit, and my friend Margaret Perenchio, a first-time producer, who put up the money. The brilliant Julie Taymor agreed to direct, and from then on she became my rock. For the other roles, I recruited my friends Antonio Banderas, Edward Norton and my dear Ashley Judd. To this day, I don’t know how I convinced Geoffrey Rush, whom I barely knew at the time.
.. Now Harvey Weinstein was not only rejected but also about to do a movie he did not want to do.
Ironically, once we started filming, the sexual harassment stopped but the rage escalated. We paid the price for standing up to him nearly every day of shooting.
.. So he told me he was going to shut down the film because no one would want to see me in that role.
It was soul crushing because, I confess, lost in the fog of a sort of Stockholm syndrome, I wanted him to see me as an artist: not only as a capable actress but also as somebody who could identify a compelling story and had the vision to tell it in an original way.
.. I was hoping he would acknowledge me as a producer, who on top of delivering his list of demands shepherded the script and obtained the permits to use the paintings.
.. But all of this seemed to have no value. The only thing he noticed was that I was not sexy in the movie.
.. He offered me one option to continue. He would let me finish the film if I agreed to do a sex scene with another woman. And he demanded full-frontal nudity.
He had been constantly asking for more skin, for more sex. Once before, Julie Taymor got him to settle for a tango ending in a kiss instead of the lovemaking scene he wanted us to shoot between the character Tina Modotti, played by Ashley Judd, and Frida.
.. When Harvey saw the cut film, he said it was not good enough for a theatrical release and that he would send it straight to video.
This time Julie had to fight him without me and got him to agree to release the film in one movie theater in New York if we tested it to an audience and we scored at least an 80.
Less than 10 percent of films achieve that score on a first screening.
I didn’t go to the test. I anxiously awaited to receive the news. The film scored 85.
.. the film industry stopped making an effort to find out what female audiences wanted to see and what stories we wanted to tell... between 2007 and 2016, only 4 percent of directors were female and 80 percent of those got the chance to make only one film. In 2016, another study found, only 27 percent of words spoken in the biggest movies were spoken by women.