
"Womankind—the everlasting irony [in the life] of the community—changes by intrigue the universal end of the government into a private end, transforms its universal activity into a work of some private individual, and perverts the universal property of the state into a possession and ornament for the Family."
Oh, wait. I mean Heigl's critique of Knocked Up.
The actress' revelation to Some Vanity Fair Writer that she felt Knocked Up was "a little sexist" is the sort of tidbit Some Vanity Fair Writers live for—the on-the-record admission of a sentiment one might have imagined a young woman with a good head on her shoulders and an equally prudent sense of how to keep her career momentum going would have thought twice about letting drop. "It paints the women as shrews," Heigl continued, "as humorless and uptight, and it paints the men as lovable, goofy, fun-loving guys. It exaggerated the characters, and I had a hard time with it, on some days. I'm playing such a bitch; why is she being such a killjoy? Why is this how you're portraying women? Ninety-eight percent of the time it was an amazing experience, but it was hard for me to love the movie."
Wowsers. I dunno. Those Knocked Up guys might have been goofy and fun-loving, but they were also a bit on the one-track-mind side (I enjoy talking about boobies as much as the next fellow, but sometimes you've gotta change the subject, if only to have something to look forward to), and they had terrible personal hygiene. I didn't find Heigl's character so much uptight or shrewish as I found her eminently reasonable in every particular, except that she didn't move to Belgium immediately upon encountering Seth Rogen's buddies.
But I didn't start this post to write yet another thumbsucker on Knocked Up (I see Slate's already got that covered). I started it in order to make that Hegel joke...and also to contemplate Heigl's "clarification..."

Generally the website's policy is to post movie reviews on the days of their releases, maybe a couple of days before. But it's clear, especially during the putative awards-movie season, that there are no rules anymore. Hell, not even in print magazines—David Denby's 










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