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The red pill1/7/2024 ![]() Upset by a pair of high-profile rape cases, she did some Googling and soon found herself reading essays by men whose defensiveness on the subject of false rape accusations has led others to claim they promote the real thing. Jaye begins with an unpromising first-person introduction, establishing her background as an actor who, frustrated with blonde-victim roles, decided to take up the camera and explore social issues. Red Pill doesn’t approach the level of polish required to enter the mainstream, and many who might benefit from seeing it will dismiss it out of hand on video, though, it will be embraced by the community it depicts. But it demonstrates enough sincerity and openness to challenging ideas - letting representatives of this problematic movement make their case clearly and convincingly - that one wishes it were able to look at multiple sides of this debate at the same time. That’s especially true of a film made by a woman, who set out intending to defend the cause of equal rights for women and who ends her movie with the disheartening declaration, “I no longer call myself a feminist.” Cassie Jaye’s The Red Pill is clumsy and frustrating in many ways. But in dealing with subjects who use the word so frequently as an epithet, and who are demonized by those who use it as a banner, one should at least address its ambiguity. One could hardly expect a documentary about the amorphous men’s rights movement to answer such a question. Who owns the word “feminism”? Like “Christianity,” “Islam,” “democracy” and “socialism,” the noun sounds concrete enough to many, but contains so many and such varied ideas that one feminist might wage war against another, or even abandon the label in horror of what others claim it implies.
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