Entertaining Other Males Quotes

I'm going to ask you to remember the prostituted, the homeless, the battered, the raped, the tortured, the murdered, the raped-then-murdered, the murdered-then-raped; and I am going to ask you to remember the photographed, the ones that any or all of the above happened to and it was photographed and now the photographs are for sale in our free countries. I want you to think about those who have been hurt for the fun, the entertainment, the so-called speech of others; those who have been hurt for profit, for the financial benefit of pimps and entrepreneurs. I want you to remember the perpetrator and I am going to ask you to remember the victims: not just tonight but tomorrow and the next day. I want you to find a way to include them -- the perpetrators and the victims -- in what you do, how you think, how you act, what you care about, what your life means to you. Now, I know, in this room, some of you are the women I have been talking about. I know that. People around you may not. I am going to ask you to use every single thing you can remember about what was done to you -- how it was done, where, by whom, when, and, if you know -- why -- to begin to tear male dominance to pieces, to pull it apart, to vandalize it, to destabilize it, to mess it up, to get in its way, to fuck it up. I have to ask you to resist, not to comply, to destroy the power men have over women, to refuse to accept it, to abhor it and to do whatever is necessary despite its cost to you to change it.

The situation is established not only to provoke defensiveness but to sidetrack the reformer into answering the wrong questions.... In this, the pattern of discourse resembles that of dinnertime conversations about feminism in the early 1970s. Questions of definition often predominate. Whereas feminists were parlaying questions which trivialized feminism such as "Are you one of those bra burners?" vegetarians must define themselves against the trivializations of "Are you one of those health nuts?" or "Are you one of those animal lovers?" While feminists encountered the response that "men need liberation too," vegetarians are greeted by the postulate that "plants have life too." Or to make the issue appear more ridiculous, the position is forwarded this way: "But what of the lettuce and tomato you are eating; they have feelings too!" The attempt to create defensiveness through trivialization is the first conversational gambit which greets threatening reforms. This pre-establishes the perimeters of discourse. One must explain that no bras were burned at the Miss America pageant, or the symbolic nature of the action of that time, or that this question fails to regard with seriousness questions such as equal pay for equal work. Similarly, a vegetarian, thinking that answering these questions will provide enlightenment, may patiently explain that if plants have life, then why not be responsible solely for the plants one eats at the table rather than for the larger quantities of plants consumed by the herbivorous animals before they become meat? In each case a more radical answer could be forwarded: "Men need first to acknowledge how they benefit from male dominance," "Can anyone really argue that the suffering of this lettuce equals that of a sentient cow who must be bled out before being butchered?" But if the feminist or vegetarian responds this way they will be put back on the defensive by the accusation that they are being aggressive. What to a vegetarian or a feminist is of political, personal, existential, and ethical importance, becomes for others only an entertainment during dinnertime.

When The Matrix debuted in 1999, it was a huge box-office success. It was also well received by critics, most of whom focused on one of two qualities—the technological (it mainstreamed the digital technique of three-dimensional “bullet time,” where the on-screen action would freeze while the camera continued to revolve around the participants) or the philosophical (it served as a trippy entry point for the notion that we already live in a simulated world, directly quoting philosopher Jean Baudrillard’s 1981 reality-rejecting book Simulacra and Simulation). If you talk about The Matrix right now, these are still the two things you likely discuss. But what will still be interesting about this film once the technology becomes ancient and the philosophy becomes standard? I suspect it might be this: The Matrix was written and directed by “the Wachowski siblings.” In 1999, this designation meant two brothers; as I write today, it means two sisters. In the years following the release of The Matrix, the older Wachowski (Larry, now Lana) completed her transition from male to female. The younger Wachowski (Andy, now Lilly) publicly announced her transition in the spring of 2016. These events occurred during a period when the social view of transgender issues radically evolved, more rapidly than any other component of modern society. In 1999, it was almost impossible to find any example of a trans person within any realm of popular culture; by 2014, a TV series devoted exclusively to the notion won the Golden Globe for Best Television Series. In the fifteen-year window from 1999 to 2014, no aspect of interpersonal civilization changed more, to the point where Caitlyn (formerly Bruce) Jenner attracted more Twitter followers than the president (and the importance of this shift will amplify as the decades pass—soon, the notion of a transgender US president will not seem remotely implausible). So think how this might alter the memory of The Matrix: In some protracted reality, film historians will reinvestigate an extremely commercial action movie made by people who (unbeknownst to the audience) would eventually transition from male to female. Suddenly, the symbolic meaning of a universe with two worlds—one false and constructed, the other genuine and hidden—takes on an entirely new meaning. The idea of a character choosing between swallowing a blue pill that allows him to remain a false placeholder and a red pill that forces him to confront who he truly is becomes a much different metaphor. Considered from this speculative vantage point, The Matrix may seem like a breakthrough of a far different kind. It would feel more reflective than entertaining, which is precisely why certain things get remembered while certain others get lost.

When, in the course of their march, they came upon a friendly population, these would entertain them with exhibitions of fatted children belonging to the wealthy classes, fed up on boiled chestnuts until they were as white as white can be, of skin plump and delicate, and very nearly as broad as they were long, with their backs variegated and their breasts tattooed with patterns of all sorts of flowers. They sought after the women in the Hellenic army, and would fain have laid with them openly in broad daylight, for that was their custom. The whole community, male and female alike, were fair-complexioned and white-skinned. It was agreed that this was the most barbaric and outlandish people that they had passed through on the whole expedition, and the furthest removed from the Hellenic customs, doing in a crowd precisely what other people would prefer to do in solitude, and when alone behaving exactly as others would behave in company, talking to themselves and laughing at their own expense, standing still and then again capering about, wherever they might chance to be, without rhyme or reason, as if their sole business were to show off to the rest of the world.

He can even talk about nonsense as long as he does it in a confident manner and flirts whenever the opportunity presents itself. A male runs the risk of losing far more women because he does not say anything at all than he does because he is saying the wrong things. You can even talk about sex, and usually should, as long as you do not make the woman feel like a slut by asking her foolish things like whether she goes all the way on the first date or intimate questions that other people may overhear, for instance. Sex is nothing to be embarrassed about; it is part of whatever relationship you are looking for, and bringing the topic up is the easiest way to make a woman think about having sex with you. Therefore, it would not make sense to avoid it, but you do have to treat the subject as the no big deal that it is. Be serious and candid instead of joking about it. People who joke about sex all the time do so because they are uncomfortable with the topic, and women prefer such a male as their entertainer rather than their lover.

Extract from 'Quixotic Ambitions': The crowd stared at Katy expectantly. She looked at them - old women in black, exhausted young women with pasty-faced children, youths in jeans and leather blousons chewing gum. She tried to speak but the words wouldn’t come. Then, with a sudden burst of energy, she blurted out her short speech, thanking the people of Shkrapova for their welcome and promising that if she won the referendum she would work for the good of Maloslavia. There was some half-hearted applause and an old lady hobbled up to her, knelt down with difficulty, and kissed the hem of her skirt. She looked at Katy with tears rolling down her face and gabbled something excitedly. Dimitar translated: ‘She says that she remembers the reign of your grandfather and that God has sent you to Maloslavia.’ Katy was embarrassed but she smiled at the woman and helped her to her feet. At this moment the People’s Struggle Pioneers appeared on the scene, waving their banners and shouting ‘Doloy Manaheeyoo! Popnikov President!’ Police had been stationed at strategic points and quickly dispersed the demonstrators without any display of violence, but the angry cries of ‘Down with the monarchy!’ had a depressing effect on the entertainment that had been planned; only a few people remained to watch it. A group of children aged between ten and twelve ran into the square and performed a series of dances accompanied by an accordian. They stamped their feet and clapped their hands frequently and occasionally collided with one another when they forgot their next move. The girls wore embroidered blouses, stiffly pleated skirts and scarlet boots and the boys were in baggy linen shirts and trousers, the legs of which were bound with leather thongs. Their enthusiasm compensated for their mistakes and they were loudly applauded. The male voice choir which followed consisted of twelve young men who sang complicated polyphonic melodies with a high, curiously nasal tenor line accompanied by an unusually deep droning bass. Some of their songs were the cries of despair of a people who had suffered under Turkish occupation; others were lively dance tunes for feast days and festivals. They were definitely an acquired taste and Katy, who was beginning to feel hungry, longed for them to come to an end. At last, at two o’clock, the performance finished and trestle tables were set up in the square. Dishes of various salads, hors-d’oeuvres and oriental pastries appeared, along with casks of beer and bottles of the local red wine. The people who had disappeared during the brief demonstration came back and started piling food on to paper plates. A few of the People’s Struggle Pioneers also showed up again and mingled with the crowd, greedily eating anything that took their fancy.

For attractive lips, speak words of kindness. For lovely eyes, seek out the good in people. For a slim figure, share your food with the hungry. For beautiful hair, let a child run his fingers through it once a day. For poise, walk with the knowledge you’ll never walk alone. ...카톡【ACD5】텔레【KKD55】 We leave you a tradition with a future. The tender loving care of human beings will never become obsolete. People even more than things have to be restored, renewed, revived, reclaimed and redeemed and redeemed and redeemed. Never throw out anybody. ♥물뽕 구입♥물뽕 구매♥물뽕 판매♥물뽕 구입방법♥물뽕 구매방법♥물뽕 파는곳♥물뽕 가격♥물뽕 파는곳♥물뽕 정품구입♥물뽕 정품구매♥물뽕 정품판매♥물뽕 가격♥물뽕 복용법♥물뽕 부작용♥ Remember, if you ever need a helping hand, you’ll find one at the end of your arm. As you grow older, you will discover that you have two hands: one for helping yourself, the other for helping others. Your “good old days” are still ahead of you, may you have many of them 수면제,액상수면제,낙태약,여성최음제,ghb물뽕,여성흥분제,남성발기부전치유제,비아,시알,88정,드래곤,바오메이,정력제,남성성기확대제,카마그라젤,비닉스,센돔,,꽃물,남성조루제,네노마정,러쉬파퍼,엑스터시,신의눈물,lsd,아이스,캔디,대마초,떨,마리화나,프로포폴,에토미데이트,해피벌륜 등많은제품판매하고있습니다 원하시는제품있으시면 추천상으로 더좋은제품으로 모시겠습니다 It is a five-member boy group of YG Entertainment who debuted in 2006. It is a group that has had a great influence on young fashion trends, the idol group that has been pouring since then, and the Korean music industry from the mid to late 2000s. Since the mid-2000s, he has released a lot of hit songs. He has played an important role in all aspects of music, fashion, and trends enjoyed by Korea's generations. In 2010, the concept of emphasizing exposure, The number of idols on the line as if they were filmed in the factory instead of the "singer", the big bang musicality got more attention, and the ALIVE of 2012, the great success of the MADE album from 2015 to 2016, It showed musical performance, performance, and stage control, which made it possible to recognize not only the public in their twenties and thirties but also men and women, both young and old, as true artists with national talents. Even today, it is in a unique position in terms of musical performance, influence, and trend setting, and it is the idol who keeps the longest working and longest position. We have made the popularity of big bang by combining various factors such as exquisite talent of all members, sophisticated music, trendy style, various arts and performances in broadcasting, lovecalls and collaboration of global brands, and global popularity. The big bang was also different from the existing idols. It is considered to be a popular idol, a idol, because it has a unique musicality, debut as a talented person in a countless idol that has become a singer as a representative, not a talent. In addition, the male group is almost the only counterpart to the unchanging proposition that there is not a lot of male fans, and as mentioned several times, it has been loved by gender regardless of gender.

Cages of women. Women and girls of all ages. Lining downtown streets behind The Great Barrier Walls. Passersby prodding at them with canes, sticks, and whatever they could find. Spitting on them through the bars, as law and culture required. “Cages of women who had disobeyed their husbands, or sons, their preachers, or some other males in their lives. One or two of them had been foolish and self-destructive enough to have reported a rapist. “A couple of them had befriended someone higher or lower than their stations, or maybe entertained a foreigner from outside the community, or allowed someone of a lesser race into their homes. A few may have done absolutely nothing wrong but for being reported by a neighbor with a grudge. “For the most part they had disobeyed or disrespected males. “Watching from behind tinted and bullet-proof windows at the rear of his immaculate stretch limo, the Lord High Chancellor of PolitiChurch, grinned the sadistic grin of unholy conquest. A dark satisfaction only a deeply tarred soul could enjoy.” … … “Caged women and young girls at major street corners in even the worst weather. Every one of them his to do with, or dispose of, as he would. “In this world – in His world – He was God.” - From “The Soul Hides in Shadows” “It is the year 2037. What is now referred to as ‘The Great Electoral Madness of ’16’ had freed the darkest ignorance, isolationism, misogyny, and racial hatreds in the weakest among us, setting loose the cultural, economic, and moral destruction of America. In the once powerful United States, paranoia, distrust, and hatred now rage at epidemic levels.

One early terracotta statuette from Catal Huyuk in Anatolia depicts an enthroned female in the act of giving birth, supported by two cat-like animals that form her seat (Plate 1). This figure has been identified as a 'birth goddess' and it is this type of early image that has led a number of feminist scholars to posit a 'reign of the goddess' in ancient Near Eastern prehistory. Maria Gimbutas, for whom such images are proof of a perfect matriarchal society in 'Old Europe' , presents an ideal vision in which a socially egalitarian matriarchal culture was overthrown by a destructive patriarchy (Gimbutas 1991). Gerda Lerner has argued for a similar situation in the ancient Near East; however, she does not discuss nude figurines at any length (Lerner 1986a: 147). More recently, critiques of the matriarchal model of prehistory have pointed out the flaws in this methodology (e.g. Conkey and Tringham 1995; Meskell 1995; Goodison and Morris 1998). In all these critiques the identification of such figures as goddesses is rejected as a modern myth. There is no archaeological evidence that these ancient communities were in fact matriarchal, nor is there any evidence that female deities were worshipped exclusively. Male gods may have worshipped simultaneously with the 'mother goddesses' if such images are indeed representations of deities. Nor do such female figures glorify or show admiration for the female body; rather they essentialise it, reducing it to nothing more nor less than a reproductive vessel. The reduction of the head and the diminution of the extremities seem to stress the female form as potentially reproductive, but to what extent this condition was seen as sexual, erotic or matriarchal is unclear. ....Despite the correct rejection of the 'Mother Goddess' and utopian matriarchy myths by recent scholarship, we should not loose track of the overwhelming evidence that the image of female nudity was indeed one of power in ancient Mesopotamia. The goddess Ishtar/Inanna was but one of several goddesses whose erotic allure was represented as a powerful attribute in the literature of the ancient Near East. In contact to the naked male body which was the focus of a variety of meanings in the visual arts, female nudity was always associated with sexuality, and in particular with powerful sexual attraction, Akkadian *kuzbu*. This sexuality was not limited to Ishtar and her cult. As a literary topos, sensuousness is a defining quality for both mortal women and goddesses. In representational art, the nude woman is portrayed in a provocative pose, as the essence of the feminine. For femininity, sexual allure, *kuzbu*, the ideal of the feminine, was thus expressed as nudity in both visual and verbal imagery. While several iconographic types of unclothed females appear in Mesopotamian representations of the historical period - nursing mothers, women in acts of sexual intercourse, entertainers such as dancers and musicians, and isolated frontally represented nudes with or without other attributes - and while these nude female images may have different iconographic functions, the ideal of femininity and female sexuality portrayed in them is similar. -Zainab Bahrani, Women of Babylon: Gender and Representation in Mesopotamia

Shall we stroll in the moonlight?” “Brother”—Dev grinned—“I have heard rumors about you.” “No doubt,” Val said easily as they moved off. “They are nothing compared to what one hears about you.” “And that gossip is usually true,” Dev said with no modesty whatsoever as they neared the mews. “Now why are we out here stumbling around in the night?” Val turned and regarded his brother in the moonlight. “So I can remind you not to make disparaging remarks about Mrs. Seaton or her situation with Westhaven where anybody could overhear you. You know what the duke tried to do with the last mistress?” “I’d heard about Elise. Then you are aware of a situation between Westhaven and Mrs. Seaton?” “He’s considering marrying her,” Val said. “Or I think he is. They’re certainly interested in each other.” “They’re a bit more than interested,” Dev said, rubbing his chin. “They were all but working on the succession when I came upon them in the library last night.” “Ye gods. I came upon them in her sitting room this afternoon, door open, all hands in view, but the way they look at each other… puts one in mind of besotted sheep.” “His Grace will be in alt,” Dev said on a sigh. “His Grace,” Val retorted, “had best not get wind of it, unless you want Westhaven to immediately lose all interest.” “Gayle wouldn’t be that stupid, but he would be that stubborn.” Dev tossed a companionable arm around Val’s shoulders. “This will be entertaining as hell, don’t you think? I’m not sure Westhaven’s wooing is entirely well received, and he has to go about it in stealth, winning the lady without alerting the duke. And we have front-row seats.” “Lucky us,” Val rejoined. “Doesn’t working on the succession comport with welcoming a man’s suit?” Dev’s grin became devilish. “That, my boy, is a common misunderstanding among the besotted male sheep of this world. And the female sheep? They like us befuddled, you know…

of both rayon and wool, draped around a papier-mâché replica in miniature of the Palais Rose. She wished that she could wear such sexily clinging clothes for—instinctively her mind had entertained Rostov, out of habit, and she forced him to leave to make the considerable room necessary for Doyle—well, for the man who would marry her. Unfortunately, she did not have the necessary figure now, nor had she possessed such a figure when she was younger. The Maker gave every human being one advantage, no more. She would have to settle for brains, which were neither sexy nor the right filling for clinging knits. How odd of God, she thought, in dispensing His favors, not to have made all females feminine. But then, He was a male, and males never understood how women really felt. She withdrew her attention from the depressing window display and pivoted on a heel to resume her watch of the Élysée. And there was Jay Doyle, like Jumbo except for the lack of a trunk, lumbering toward her. “Well?” she asked quickly, even before he had reached her. He wheezed noisily, and after an unnecessarily theatrical glance around to be sure they could not be overheard, he said, “Rostov’s in there all right. I didn’t see him, of course, but some of the other correspondents saw him arrive at four. The ministers are still locked up in the Murat Salon, in the section called the Foreign Sovereigns’ Apartment.” “When do they break?” asked Hazel anxiously

Besides the local residents, Meraud frequently entertained visitors from other parts of the world. There was an extremely eccentric Spanish marquise, a royalist who had fled Franco and was plotting the return of the monarchy to Spain. She was an aggressive lesbian who seemed to expect Meraud to provide her with a female companion. Meraud balked at this, complaining that she had no intention of procuring for any of her guests. One day the marquise showed me the jacket of a book she had written about the Spanish War under a male pseudonym, featuring a photo of the marquise cross-dressed as a man, with a fake mustache to enhance the illusion.

It was in this environment of entrenched racism that America’s first minstrel shows appeared, and they began attracting large audiences of European immigrants, native Whites, and sometimes even Blacks. By 1830, Thomas “Daddy” Rice, who learned to mimic African American English (today called “Ebonics”), was touring the South, perfecting the character that thrust him into international prominence: Jim Crow. Appearing in blackface, and dressed in rags, torn shoes, and a weathered hat, Jim Crow sang and danced as a stupid, childlike, cheerful Black field hand. Other minstrel characters included “Old darky,” the thoughtless, musical head of an enslaved family, and “Mammy,” the hefty asexual devoted caretaker of Whites. The biracial, beautiful, sexually promiscuous “yaller gal” titillated White men. “Dandy,” or “Zip Coon,” was an upwardly mobile northern Black male who mimicked—outrageously—White elites. Typically, minstrel shows included a song-and-dance portion, a variety show, and a plantation skit. In the decades leading up to the Civil War, blackface minstrelsy became the first American theatrical form, the incubator of the American entertainment industry. Exported to excited European audiences, minstrel shows remained mainstream in the United States until around 1920 (when the rise of racist films took their place).15

...in the late 1960s not a few paleoanthropologists were prepared at least to entertain the possibility that the differences between the robust and gracile australopithecines were due to sexual dimorphism: size and shape differences between the sexes (which in the bones of modern humans, if not apes, are relatively minor). And while others mumbled about how remarkable it was that all of the females had died at once at Sterkfontein, while all the males had waited around another half-million years before stampeding across the valley to become extinct at Swartkrans,

Carnival Cruise Lines has its own successful way of doing things, which in this case involved creating a musical group called “The Hot Shots!” The word “Fantastic” comes to mind when thinking of this musical group! Each member auditioned separately at the Carnival rehearsal facility in Miami and then rehearsed as a group until they were ready for the big leagues aboard ship. Fortunately for me and my team, which includes Jorge Fernandez, a former guitar player from Cuba and now a top flight structural engineer in the Tampa Bay area, who helps me with much of my technical work; Lucy Shaw, Chief Copy Editor; Ursula Bracker, Proofer, and lucky me Captain Hank Bracker, award winning author (including multiple gold medals), were aboard the Carnival Legend and were privileged to listen to and enjoy, quite by chance, music that covered everything from Classical Rock, to Disco, to Mo Town and the years in between. Talented Judith Mullally, Carnival’s Entertainment Director, was on hand to encourage and partake in the music with her outstanding voice and, not to be left out, were members of the ship’s repertory cast, as well as the ship’s Cruise Director. The popular Red Frog lounge on the Carnival Legend was packed to the point that one of the performances had to be held on the expansive Lido deck. However, for the rest of the nights, the lounge was packed with young and old, singing and dancing to “The Hot Shots!” - a musical group that would totally pack any venue in Florida. Pheona Baranda, from the Philippines, is cute as a button and is the lead female singer, with a pitch-perfect soprano voice. Lucas Pedreira, from Argentina, is the lead male singer and guitar player who displayed endless energy and the ability to keep the audience hopping! Paulo Baranda, Pheona’s younger brother, plays the lead guitar to perfection and behind the scenes is the band’s musical director and of course is also from the Philippines. Ygor, from Israel, is the “on the money” drummer who puts so much into what he is doing, that at one point he hurt his hand, but refused to slow down. Nick is the bass guitar player, from down under New Zealand, and Marina, the piano and keyboard player, hails from the Ukraine. As a disclaimer I admit that I hold shares in Carnival stock but there is nothing in it for me other than the pleasure of listening to this ultra-talented group which cannot and should not be denied. They were and still are the very best! However, I am sorry that just as a “Super Nova” they unfortunately can’t last. Their bright shining light is presently flaring, but this will only be for a fleeting moment and then will permanently go to black next year on January 2, 2020. That’s just the way it is, but my crew and I, as well as the many guests aboard the Carnival Legend, experienced music seldom heard anywhere, any longer…. It was a treat we will remember for years to come and we hope to see them again, as individual musical artists, or as perhaps with a new group sometime in the near future!

The Nation of Islam is the best known Black Muslim group, though its actual numbers may be no more than 100,000. However, many blacks who are not, themselves, Muslims have great respect for the group’s leader, Louis Farrakhan. Users of the Internet arm of Black Entertainment Television, BET.com, chose him as the black “person of the year” for 2005. Mr. Farrakhan was elected over Oprah Winfrey, then-Senator Barack Obama, Robert L. Johnson, who started BET, and the victims of Hurricane Katrina. “An overwhelming percentage of our users agreed that Minister Farrakhan made the most positive impact on the Black community over the past year,” explained a BET spokesman. What did Mr. Farrakhan do to deserve that honor? He received heavy news coverage twice that year. Once was when he promoted the theory that whites blew up the New Orleans levees to destroy black neighborhoods. The other was when he organized a “Millions More Movement” on the National Mall to celebrate the tenth anniversary of the Million Man March. On that occasion, Michael Muhammad, National Youth Minister for the Nation of Islam declaimed: “We want to say to our young brothers of the Crips and the Bloods that we are one family. The real enemy doesn’t wear blue, but white, even when he’s butt naked.” Ayinde Baptiste of the Nation of Islam added: “We are at war here in America. . . . We need soldiers now. We need black male soldiers, we need black feminist soldiers, we need Crips and Bloods soldiers . . . soldiers in the prisons, soldiers in the streets.” The Congressional Black Caucus endorsed the event, and five black congressmen attended it.

To me, the idea of sitting around watching a bunch of Black bodies crash into each other to the delight of white team owners and managers is not entertaining. Even though I can respect and appreciate the great efforts the athletes put forth, the sport has long represented to me the exploitation of Black labor and Black bodies, and little else. But I have come to value (if often with dismay) the way in which we can see the reflection of American racial attitudes through the sport.

TOOTSIE (by Larry Gelbart and Murray Schisgal, story by Don McGuire and Larry Gelbart, 1982) • Premise When an actor can’t get work, he disguises himself as a woman and gets a role in a TV series, only to fall in love with one of the female members of the cast. • Possibilities You could take a funny look at the modern dating dance, but also dissect the deep immorality that underlies how men and women act toward each other in the most intimate part of their lives. • Story Challenges How do you show the effect of men’s immoral actions against women without seeming to attack one entire gender while making the other gender look innocent? • Problems How do you make a man believable as a woman, weave several man-woman plots together and make them one, end each plotline successfully, and make an emotionally satisfying love story while using a number of farce techniques that place the audience in a superior position? • Designing Principle Force a male chauvinist to live as a woman. Place the story in the entertainment world to make the disguise more believable. • Best Character Michael’s split between dressing as both a man and a woman can be a physical and comical expression of the extreme contradiction within his own character. • Conflict Michael fights Julie, Ron, Les, and Sandy about love and honesty. • Basic Action Male hero impersonates a woman. • Character Change W—Michael is arrogant, a liar, and a womanizer. C—By pretending to be a woman, Michael learns to become a better man and capable of real love. • Moral Choice Michael sacrifices his lucrative acting job and apologizes to Julie for lying to her.