Popular Culture Review 29.1 (Spring 2018) - Page 77

class in her analysis. In the response article, MacKinnon attempts to claim that the white woman constructed by black feminists is a chimera who never was. She writes: This creature is not poor, not battered, not raped (not really), not molested as a child, not pregnant as a teenager, not prostituted, not coerced into pornography, not a welfare mother, and not economically exploited. She doesn’t work. She is either the white man’s image of her— effete, pampered, privileged, protected, flighty, and self- indulgent—or the Black man’s image of her—all that, plus “pretty white girl” (meaning ugly a sin but regarded as the ultimate in beauty because she is white). She is Miss Anne of the kitchen, she puts Frederick Douglas to the lash, she cries rape when Emmett Till looks at her sideways, she manipulates white men’s very real power with the lifting of her very well-manicured little finger. […] She flings her hair, feels beautiful all the time, complains about the colored help, tips badly, can’t do anything, doesn’t do anything, doesn’t know anything, and alternates fantasizing about fucking Black men with accusing them of raping her. […] On top of all this, out of impudence, imitativeness, pique, and a simple lack of anything meaningful to do, she thinks she needs to be liberated. This depiction by MacKinnon is meant to be a caricature, but if it is instead a composite of real white women, Rachel’s actions in Season 2 provide a piece of the composition. Rachel fulfills her sexual fantasy with Romeo, but is willing to put him in the line of fire of white police when it might advance her career. MacKinnon claims that this white woman is just another constructed myth used as a tool of male dominance in its mode of divide and conquer. Despite contributing to the MacKinnon’s caricature/ composite, Rachel does invert the patriarchal use of women for sex and gets one of her three tattoo desires embodying a traditionally patriarchal sexual mode. Everlasting also attempts to construct MacKinnon’s archetype in Tiffany, the acceptable—read white, blonde, and rich—bride, who wants to be, of all things, liberated. UnREAL  takes Ruby out of Everlasting in a potential effort to critique the devaluing of black women who wear their hair natural and refuse to perform the norms of white beauty. But Bastién reads this as otherwise. For instance, she writes that UnREAL  shortchanges a story line ripe for deeper exploration to gain short-term drama: “Maybe Ruby will come back. Maybe Darius will realize his mistake. Maybe the show will say something new and even revolutionary about blackness. Until then, the racial 77