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 selfindulgent — 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
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