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Trivia / Feminist Frequency

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  • Artist Disillusionment: She stopped creating the videos in 2017, having lost interest in the series. Likewise the corporate sponsorship that the site had relied on in its early days was eventually dropped, and it was announced as a non-profit in 2019.
  • Cowboy BeBop at His Computer: Anita has made more than a few research mistakes. Among them:
    • She listed Clementine from Eternal Sunshine of the Spotless Mind as a straight example of a Manic Pixie Dream Girl, even though she is an outright subversion of this trope. To the point that she actually says to her romantic foil: "I'm not a concept. Too many guys think I'm a concept or I complete them or I'm going to make them alive, but I'm just a fucked up girl who is looking for my own peace of mind. Don't assign me yours." In the same video she takes the time to examine Summer from (500) Days of Summer as an example of the trope. She likewise doesn't mention that the film deconstructs this type of romance and points out how unrealistic it is.
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    • She was accused of doing this in her Bayonetta review (which was edited afterwards, see here.), where she made several inaccuracies regarding both the plot and the characters. When criticized for it, she said that it was a misunderstood joke, leading her to edit it to remove the inaccurate statements.
    • In her description of Star Fox Adventures: Dinosaur Planet, she states that the game was meant to be "her [Krystal's] own game", and that Fox McCloud replaced Krystal, when in fact he replaced a different character, Sabre. The closest to a mention she makes of Sabre is when she says in passing that Krystal was meant to be "one of two playable characters". Krystal did have a larger role originally, however, and was a major playable character instead of just being playable for the first few minutes.
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    • Her criticism of Kanye West's music video of "Monster" missed the point of the song, video, and the album as a whole, which was meant to be a critique about the depravities and vapidness of Western Society in general, hence the use of sexualized dead women. In the same video, she then criticizes Amanda Palmer's album "Who Killed Amanda Palmer" as being apart of this same "trend of fetishizing dead women" in media, which is especially baffling as the album title and artwork are meant to be a Shout-Out to Twin Peaks in the first place, and secondly she seemed to have never listened to any songs from the album itself, like "Oasis.".
    • Dollhouse has multiple. In the eight year anniversary newsletter, Feminist Frequency acknowledges the problems. "We’ve come a long way since Anita first hung up a piece of fabric in her living room and recorded her thoughts about Dollhouse for all the world to see. We’ve all learned a lot since then about doing feminist media analysis and making compelling videos. We just keep this video around to remind us of how far we’ve come — and remind Anita that we’ll never forget how she used to pronounce Joss Whedon’s name wrong."
      • She says "Dollhouse is basically a glorified brothel." For one, she fails to distinguish between Dollhouse, the show, and the Dollhouse company in the story.
      • After describing how the second season would move toward the themes of the season one finale, she rants about how horrifying she found the episode "Omega". While "Omega" was the last episode aired in the States, the Dollhouse season finale was "Epitaph One", an episode available for viewing on Hulu and iTunes. "Epitaph One" is a Deadly Distant Finale, and season two would explain how everything reaches that state. The events of "Omega" are irrelevant.
      • She mispronounces Joss Whedon's name. Not knowing how to pronounce the E in Whedon is one thing, but she also calls him Josh.
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    • Sarkeesian cites Heike Kagero from Super Punch-Out!! as a homophobic/transphobic caricature of effeminate men. In reality, he's nothing of the sort. Heike Kagero's appearance is based on oyama, male Kabuki actors who take on female roles. Japanese culture is so different from Western culture that it's very common for Western feminists to dramatically misinterpret aspects of Japanese media as either good or bad.
    • She also lists Betty De Ville from Rugrats as an example of a Straw Feminist purely based off the fact that she was a Ladette who had the female symbol on her sweater. Not at one point during the series does Betty express a Straw Feminist ideal or Does Not Like Men attitude. In fact, Rugrats and several moments of the spin off emphasise that Betty deeply loves her husband. While Betty does exist as an example of Masculine Girl, Feminine Boy alongside Howard, she's not a Straw Feminist in any sense of the term.
    • Her criticism of Super Princess Peach. She takes umbrage with Peach's abilities, which are tied to her emotions, as "out-of-control frantic female emotions" and accusing Nintendo of turning PMS into a joke. Sarkeesian first says the player chooses from Peach’s special powers, then implies they’re out of control a la PMS. The entire point of the game mechanic, as Sarkeesian admits at the beginning of the paragraph, is that the player (and thus, Peach, since she’s embodying the player in the game world) chooses what to feel depending on what’s most fitting for the situation. So by definition, her emotions aren’t out of control PMS episodes.
      • The equation to PMS also characterizes the ability as something particular to Peach and by extension her being female, when the actual root is in the setting. The opening minigame depicts Bowser sending the hordes of enemies and the toads in Peach's castle into an emotional panic with the Vibe Scepter, and enemies throughout the game make use of the same powers, as do mooks and bosses up to Bowser himself. Even ignoring the mooks as gendered in the game, the number of male characters with these abilities equals if not outnumbers the female ones, which makes it a hard sell to sell the vibe powers as feminine in nature rather than simply rooted in unisexual emotions.
    • Sarkeesian identifies Dixie Kong in Donkey Kong Country 2: Diddy's Kong Quest as a Ms. Male Character, referring to her as the "feminine variant and love interest of Diddy Kong." This couldn't be further from the truth; Dixie is very much an individual character with her own personality, that she and Diddy have different playstyles is a design element of the game, and her status as a playable character is even lampshaded by Cranky Kong. Furthermore, in the sequel she stars in her own title and Diddy is the one who gets damselized instead.
    • Yet another from Tropes vs. Women in Video Games: In identifying to Beatrice in Dante's Inferno as a Damsel in Distress she says that "In Dante’s Inferno your murdered wife’s soul is trapped in hell and you must fight to free her." Technically true, but this ignores the context that, rather than being a passive damsel who gets kidnapped, Beatrice actively bet her own soul that Dante, her husband, would remain faithful. Moreover, despite being trapped, Beatrice makes a regular appearances throughout Dante’s Inferno as both a helpful and harmful presence to Dante.
    • In her critique of the song "I Saw Mommy Kissing Santa Claus" she claimed the mother was cheating on her husband with Santa when actually "Santa" was really the father dressed up as Santa, which is what makes the song funny.
    • Her critique of GQ's Glee themed photo shoot characterizes Glee as a children's show with no sexual content in order to paint GQ's sexual portrayal of Glee characters as perverse and being potentially disturbing to child fans of the show who would see their favorite young characters acting like sexual adults. She missed the fact that Glee is a show about teenagers and teachers in high school, not children, and that often it deals with sexuality as is realistic for the high school setting. Campiness aside, Glee is a sexy show. It's about sex, singing, and singing about sex.
    • In her video about Mystic Pregnancies, she refers to the conception of Jesus as the Immaculate Conception. This is a common misconception, as the conception of Mary, not Jesus, was the actual Immaculate Conception.
  • Creator Breakdown: Part of the reason the second series of videos concerning video games took longer than expected to surface was due to Anita suffering attacks from Trolls and misogynists - who sent her death and rape threats, as well as making inappropriate caricatures of her online. Uniquely for this trope, this led to Anita becoming a spokesperson for cyber bullying and harassment - meaning her schedule was taken up by public speaking appearances that delayed her having time to make the videos.
  • Dear Negative Reader: Anita was involved in an incident at Vid Con 2017 where she was speaking at a panel and noticed a YouTuber called Sargon of Akkad in the audience. As he had made several videos criticising Feminist Frequency, she called him out using language like "shitheads like this doofus" and "garbage human". Another audience member then asked her if she truly believed what she said in her videos, and she responded by ordering him removed from the question line. The incident was controversial, as Anita's actions were technically unprovoked and in violation of the Vid Con code of conduct - and she faced no disciplinary action from the organisers.
  • Hostility on the Set: There was running tension between Anita and her partner Jonathan McIntosh, who clashed frequently on the direction the videos should go in. Jonathan favored longer videos that debated possible rebuttals to the statements, while Anita preferred to keep the videos to a shorter length and putting things as succinctly as possible. The arguments between them could sometimes become quite nasty, according to an interview Anita did with Polygon. This was part of the reason that her second series of videos took a longer time to come out (as she suffered creative burnout and exhaustion).
  • Why Fandom Can't Have Nice Things: The comments on the YouTube videos were turned off due to trolling and general rudeness.


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