#MeToo-Inspired Stories Have Been Making Women Villains As Well As Victims

One week after the first Harvey Weinstein exposé lit a match to a movement waiting to catch fire, Great News, the Tina Fey–produced NBC sitcom, featured a storyline in which Fey’s network president sexually harasses her employees. In an episode that Fey co-wrote, her Diana St. Tropez informs Katie (star Briga Heelan) of the sacrifices the younger woman will need to make if she wants to be successful as a female TV producer. “Worrying about your personal life is a distraction,” Diana says. “Thirty is for working, 50 is for having kids, and 140 is for dying.” On Fey’s 30 Rock, Alec Baldwin’s Jack Donaghy got to savor the playboy perks of the C-suite, but Diana’s existence is defined by regimented scheduling and monkish discipline. Diana’s harassment of her underlings, we later learn, is a tactic to force the network to buy her out of her contract, but she’s too disgusted with her own behavior to see the plan through. “I just want what the men get,” she explains, “$40 million to go away.” The plot ends with a sharp but dispiriting conclusion: that the best we can hope for is a world where women can get away with as much as men have. Someday, Diane sighs to her protégée, “We’ll live in a world where a woman can be a creep and go home with a huge golden parachute.”


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