It was probably to ward off the setting atmosphere of despair that the Kamala Harris campaign released a new ad alleging the existence of a certain anti-Trump voter not picked up by the pollsters. This voter is a white housewife too frightened to challenge her misogynist husband, so she won’t tell anyone that she is not voting with him. Never mind that Donald Trump outperformed the polls in both 2016 and 2020, so if this subset of the population didn’t exist, then why would it now?
The ad, narrated by the Reagan/Bush era bombshell Julia Roberts, shows a middle age blonde, vaguely reminiscent of Carmella Soprano, in a baseball cap bejeweled with Old Glory escorted to the polling place by her creepy, dwarfish redneck husband. She is about to vote for Trump when she locks her clear blue eyes with another middle age white woman who happens to be voting across from her. The two smile at each other and she fills in the bubble for Kamala. “Your vote is private,” announces Roberts as the two affix the I VOTED stickers to their chests, exchanging another knowing glance.
In a Depression era classic film, a giant gorilla picked up a leggy fair maiden and swayed her over New York skyline. Some say that King Kong was informed by the fear of black masculinity, that it was a signal for men to protect their women. By contrast, today’s damsel in distress is haunted by her controlling hick of a husband — girl, you can do better! It’s a signal to women to coerce her to do what’s socially acceptable.
She sold herself short. Maybe she’s not very smart and she certainly is tacky, but luckily she has sisterhood looking out for her. The second woman in the commercial is a brunette — big brains! At a later date they can have a conversation about that husband of hers.
White womanhood has been under attack since the inception of Black Lives Matter. In that demographic, Americans learned, feminism alone is not enough to claim proper woke credentials. White women have been booted from movement leadership, sometimes even replaced with hijabis, and instructed to switch to intersectional feminists.
In her frankly genocidal work White Tears/Brown Scars, the Australian Arab academic Ruby Hamad criticized white women for existing. Even if marginalized by their men, Hamad reasoned, white women are responsible for perpetuating the white race, and for that reason, they can’t claim victimhood. Racial redemption is out of reach unless they wholly subordinate their interests to those of brown women like herself.
It’s not enough that white women exist — they also have feelings. Sometimes they feel bullied and may even cry. Because of its potential to humanize and generate sympathy, Hamad finds the act of crying most problematic. She whined:
Trauma assails brown and black women from all directions. […] there is a type of trauma inflicted on women of colour that many of us find among the hardest to disclose, the one that few seem willing to admit […]is the trauma caused by the tactic many white women employ to muster sympathy and avoid accountability, by turning the tables and accusing their accuser.
Matt Walsh’s recently released film Am I Racist? includes a scene in which motivational speakers Saira Rao and Regina Jackson rather sadistically promised their white female clients that they would make them cry during a dinner conversation. Rao and Jackson then admonished the women to go away and weep in solitude so that their tears don’t take the spotlight away from them.
Why ban solidarity and compassion? A Motivational speaker who goes by Awesomely Luvvie explained:
White women tears are especially potent and extra salty because they are attached to the symbol of femininity. These tears are pouring out from the eyes of the one chosen to be the prototype of womanhood; the woman who has been painted as helpless against the whims of the world. The one who gets the most protection in a world that does a shitty job overall of cherishing women. The mothers, sisters, daughters and aunties of the world’s biggest bullies (white men).But the truth is, white women have been bullies themselves because they’ve been the shadows behind the white men who get all the blame.
The feeling of jealousy directed towards the “prototype of womanhood” might be “hard to admit,” but it‘s impossible to hide. The accusations of bullying are pure projection, warped inside projections. And of course none of it helped to advance their movement.
Woke feminists did what they did because they could. For a good part of the decade, too many white women internalized the oppression. They bought into the idea that they somehow “weaponized” their tears against minority women. They accepted that their proper place is to be blended into a wall.
Now that DEI fever has broken, the first woman of color presidential nominee needs white women’s tears to rescue her crumbling campaign. Harris herself is a machine candidate who had everything — from law school admission to the presidential nomination — handed to her on a silver platter. Since being gifted that nomination, she revealed herself to be the least competent major party nominee in American history.
Democrat women conjured up the hidden Kamala voter that fits the worst female stereotype. They can’t bring themselves to believe that a woman can voluntarily choose to be pro-life or to vote for Trump. The hidden Kamala voter is another kind of damsel in distress — presumably a battered wife, paralyzed with fear and too scared to speak up.
This orgy of feminist pity is also their last hope. In their minds, the dumb blonde needs to be liberated from the comical mafioso, but in reality it’s the overpromoted Kamala who requires an assist.
The all-white sisterhood is relevant again. White women’s emotional lives matter. Presidential contests are won and lost in the suburbs, where they are a key demographic. At the very least, they need to be reassured that victory is possible. With Election Day a week away, there is no time to play intersectional games, so Democrats filmed an unimaginative King Kong remake.
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