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"For 'I Love You, Daddy' to work as a staging ground for the points that Louis [C.K.] wants to make—that young women’s sexual attractiveness gives them power over the sorry men who lust after them..." - Hallo friend WELCOME TO AMERICA, In the article you read this time with the title "For 'I Love You, Daddy' to work as a staging ground for the points that Louis [C.K.] wants to make—that young women’s sexual attractiveness gives them power over the sorry men who lust after them...", we have prepared well for this article you read and download the information therein. hopefully fill posts Article AMERICA, Article CULTURAL, Article ECONOMIC, Article POLITICAL, Article SECURITY, Article SOCCER, Article SOCIAL, we write this you can understand. Well, happy reading.

Title : "For 'I Love You, Daddy' to work as a staging ground for the points that Louis [C.K.] wants to make—that young women’s sexual attractiveness gives them power over the sorry men who lust after them..."
link : "For 'I Love You, Daddy' to work as a staging ground for the points that Louis [C.K.] wants to make—that young women’s sexual attractiveness gives them power over the sorry men who lust after them..."

"For 'I Love You, Daddy' to work as a staging ground for the points that Louis [C.K.] wants to make—that young women’s sexual attractiveness gives them power over the sorry men who lust after them..."

"... that, in spite of that power, young women are more likely than not to be careless and foolish, and to bring trouble and disgrace on themselves—[the 17-year-old character] China has to be an empty vessel, an absolute airhead with no sense of self and no mind of her own. Her attraction to [the old movie director] Leslie wouldn’t be remotely plausible otherwise; she would see him for what he is—ridiculous—and laugh him out of the room. In the end, it is China who makes herself absurd. She is the one who throws herself at Leslie, not the other way around, and so it is she who ends up rejected and humiliated. Leslie glides away in his Moroccan slippers with his integrity intact. He is St. Anthony warding off the devil; the young temptress is discarded, and the important artist can at last get back to his work.... As for China, her redemption comes in the form of a job at the perfume counter of Bloomingdale’s and a shared apartment in Harlem: she has decided to take Daddy’s counsel and go get her independence. There is something depressingly subdued about her, in the film’s last scene, a deadened quality that is supposed to pass for maturity. Such is the film’s final point where women are concerned: stop flirting and mooching and get to work, because, if you don’t have to depend on men for money, they can’t control you, or harm you, or fuck you over."

I'm reading "'I Love You, Daddy,' Louis C.K.’s Cancelled Movie, Reeks of Impunity" by Alexandra Schwartz in The New Yorker.

I'm not sure what's so reeking about that story... if we stick to the text and exclude the extrinsic evidence we have about the filmmaker. 

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"... that, in spite of that power, young women are more likely than not to be careless and foolish, and to bring trouble and disgrace on themselves—[the 17-year-old character] China has to be an empty vessel, an absolute airhead with no sense of self and no mind of her own. Her attraction to [the old movie director] Leslie wouldn’t be remotely plausible otherwise; she would see him for what he is—ridiculous—and laugh him out of the room. In the end, it is China who makes herself absurd. She is the one who throws herself at Leslie, not the other way around, and so it is she who ends up rejected and humiliated. Leslie glides away in his Moroccan slippers with his integrity intact. He is St. Anthony warding off the devil; the young temptress is discarded, and the important artist can at last get back to his work.... As for China, her redemption comes in the form of a job at the perfume counter of Bloomingdale’s and a shared apartment in Harlem: she has decided to take Daddy’s counsel and go get her independence. There is something depressingly subdued about her, in the film’s last scene, a deadened quality that is supposed to pass for maturity. Such is the film’s final point where women are concerned: stop flirting and mooching and get to work, because, if you don’t have to depend on men for money, they can’t control you, or harm you, or fuck you over."

I'm reading "'I Love You, Daddy,' Louis C.K.’s Cancelled Movie, Reeks of Impunity" by Alexandra Schwartz in The New Yorker.

I'm not sure what's so reeking about that story... if we stick to the text and exclude the extrinsic evidence we have about the filmmaker. 

Thus articles "For 'I Love You, Daddy' to work as a staging ground for the points that Louis [C.K.] wants to make—that young women’s sexual attractiveness gives them power over the sorry men who lust after them..."

that is all articles "For 'I Love You, Daddy' to work as a staging ground for the points that Louis [C.K.] wants to make—that young women’s sexual attractiveness gives them power over the sorry men who lust after them..." This time, hopefully can provide benefits to all of you. Okay, see you in another article posting.

You now read the article "For 'I Love You, Daddy' to work as a staging ground for the points that Louis [C.K.] wants to make—that young women’s sexual attractiveness gives them power over the sorry men who lust after them..." with the link address https://welcometoamerican.blogspot.com/2017/11/for-i-love-you-daddy-to-work-as-staging.html

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