In a final videotaped message, a sad reflection of the sexist stories we so often see on screen
The real culprit in all of this is a culture of thriving misogyny, in which women are dehumanized and regarded as grudging dispensers of sex candy, who must be punished if they don’t do their job of servicing men.
Elliot Rodger was a spoiled, entitled kid who had his brain poisoned
with this attitude. First he learned that women are disposable, then he
learned that they were evil for not having sex with him, and then he
rationally put together two delusions and acted on them.
http://freethoughtblogs.com/pharyngula/2014/05/25/well-that-explains-everything/comment-page-1/
Ann Hornaday:
In a final videotaped message, a sad reflection of the sexist stories we so often see on screen
As deranged manifestos go, the final YouTube video made by suspected Isla Vista, Calif., mass murderer Elliot Rodger was remarkably well-made. Filmed by Rodger in his black BMW, with palm trees in the background and his face bathed in magic-hour key light, the six-minute diatribe — during which he vows revenge on all the women who rejected him and men who were enjoying fun and sex while he was “rotting in loneliness” — might easily have been mistaken for a scene from one of the movies Rodger’s father, Peter Rodger, worked on as a director and cinematographer.
Indeed, as important as it is to understand Rodger’s actions within the context of the mental illness he clearly suffered, it’s just as clear that his delusions were inflated, if not created, by the entertainment industry he grew up in. With his florid rhetoric of self-pity, aggression and awkwardly forced “evil laugh,” Rodger resembled a noxious cross between Christian Bale’s slick sociopath in “American Psycho,” the thwarted womanizer in James Toback’s “The Pick-Up Artist” and every Bond villain in the canon.
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As Rodger bemoaned his life of “loneliness, rejection and unfulfilled desire” and arrogantly announced that he would now prove his own status as “the true alpha male,” he unwittingly expressed the toxic double helix of insecurity and entitlement that comprises Hollywood’s DNA. For generations, mass entertainment has been overwhelmingly controlled by white men, whose escapist fantasies so often revolve around vigilantism and sexual wish-fulfillment (often, if not always, featuring a steady through-line of casual misogyny). Rodger’s rampage may be a function of his own profound distress, but it also shows how a sexist movie monoculture can be toxic for women and men alike.
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Movies may not reflect reality, but they powerfully condition what we desire, expect and feel we deserve from it. The myths that movies have been selling us become even more palpable at a time when spectators become their own auteurs and stars on YouTube, Instagram and Vine. If our cinematic grammar is one of violence, sexual conquest and macho swagger — thanks to male studio executives who green-light projects according to their own pathetic predilections — no one should be surprised when those impulses take luridly literal form in the culture at large.
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