That attitude toward women as objects may have worked for the

That attitude toward women as objects may have worked for the

22/09/2025
04/11/2025

That attitude toward women as objects may have worked for the late Sixties, but it doesn't do so now.

That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the late Sixties, but it doesn't do so now.
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the late Sixties, but it doesn't do so now.
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the late Sixties, but it doesn't do so now.
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the late Sixties, but it doesn't do so now.
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the late Sixties, but it doesn't do so now.
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the late Sixties, but it doesn't do so now.
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the late Sixties, but it doesn't do so now.
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the late Sixties, but it doesn't do so now.
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the late Sixties, but it doesn't do so now.
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the
That attitude toward women as objects may have worked for the

Host: The bar was dimly lit, filled with the low hum of conversation and the faint strum of a jazz guitar. The air was thick with smoke, curling lazily toward the ceiling fans that spun with a tired whir. Outside, the neon signs flickered against the wet pavement, painting the night in shifting shades of red and blue.

Host: Jack sat at the counter, his sleeves rolled up, tie loosened, a half-empty glass before him. His grey eyes were fixed on nothing, just drifting — a man unmoored. Across from him, Jeeny stirred her drink slowly, her expression sharp and still. The bartender moved silently behind them, as if he too could feel the weight pressing between the two.

Jeeny: (quietly, but cutting through the noise) “You know what John Schlesinger once said? ‘That attitude toward women as objects may have worked for the late Sixties, but it doesn’t do so now.’

Host: Jack’s eyebrow twitched, a faint trace of a smirk tugging at the corner of his mouth.

Jack: “Worked? It never really worked, Jeeny. It just looked like it did — because men ran the show. The cameras, the money, the words. Everything was filtered through that lens.”

Jeeny: “Then why do you still talk like one of them sometimes?”

Jack: (laughs bitterly) “Because I grew up in that language, Jeeny. My father’s world was built on it. Every film, every ad, every song — women were props, not people. I can’t erase that just because time’s moved on.”

Jeeny: “No one’s asking you to erase it, Jack. Just to stop repeating it.”

Host: The bartender placed another drink in front of them, the ice clinking like tiny bones. The music shifted — a soft trumpet, mournful and slow.

Jack: “You make it sound simple. But men are still rewarded for it — every damn day. The same movies that told us to chase and conquer? They still sell tickets. You think one generation changes all that?”

Jeeny: “Yes. Or at least it has to try. Because pretending it’s too big to change — that’s how it stays alive. It’s like toxic nostalgia, Jack. People still romanticize the Sixties, but they forget the damage. The women who were silenced, the actresses who were told to smile or get lost.”

Jack: “Sure. I get it. You want a new script. But the world still casts people the same way. Beauty gets the first line, intelligence gets the second, and truth doesn’t even make it to rehearsal.”

Jeeny: “Then maybe the script needs to be burned, not rewritten.”

Host: Her voice trembled with fury, but it was the quiet kind — the kind that carried history inside it. Jack looked at her, really looked, and for a moment the smoke between them seemed to lift.

Jack: “You sound like you’ve seen the worst of it.”

Jeeny: “I have. Every woman I know has. You think objectification was just a phase? It’s a shadow that never left. My first boss called me ‘sweetheart’ for three years and never once said my name. And when I called him out, I was told I had a ‘bad attitude.’”

Jack: (leans forward, voice low) “So you fought back.”

Jeeny: “I had to. But fighting back doesn’t mean I stopped feeling the weight of it. That’s what men don’t see — even when you win, you carry the bruise.”

Host: The light from the neon sign outside flashed red across her face, then blue, then red again — like a slow, rhythmic warning.

Jack: “You know, when Schlesinger made Midnight Cowboy, he wasn’t glorifying it. He was holding up a mirror. But people saw what they wanted. They always do.”

Jeeny: “And that’s the problem, Jack. Art mirrors society — but it also teaches it. You reflect enough misogyny, people stop noticing it. They start calling it normal.”

Jack: “So what — we cancel every story from the past?”

Jeeny: “No. We confront them. We talk about them. That’s the real evolution — not censorship, but accountability.”

Host: The jazz guitar hit a low, aching note. Jack rubbed his temple, his eyes dim with fatigue — or maybe guilt.

Jack: “You ever think maybe men didn’t mean it? Maybe they were just repeating what they were taught? A machine built by the same old hands?”

Jeeny: “Intent doesn’t erase impact, Jack. A machine doesn’t get a pass for crushing someone just because it was built to do so. You can learn better, or you can keep turning the gears.”

Host: He didn’t reply immediately. The rain outside began again, tracing soft silver lines down the window. Jeeny’s reflection shimmered in the glass beside his — two shapes, one conversation.

Jack: “You make forgiveness sound easy.”

Jeeny: “It’s not forgiveness I’m asking for — it’s awareness. Forgiveness without change is just permission.”

Host: That line hit him. He looked down at his hands, calloused and trembling slightly, as if he were holding something invisible and sharp.

Jack: “You know, my mother once said something like that. After my father died, she said she’d spent thirty years being his ‘pretty thing’ — and it took his death for her to realize she was more than that. I hated her for saying it. Now I think I finally understand.”

Jeeny: (softly) “Then maybe that’s what change looks like, Jack — not grand revolutions, but quiet awakenings.”

Host: The bar had emptied, leaving just the two of them and the music. A faint steam rose from the coffee pot, catching the light like a ghost of breath.

Jack: “You think men like me can really unlearn it? All the small things — the jokes, the looks, the silences?”

Jeeny: “Only if you start noticing them. Only if you stop pretending they’re harmless. Every ‘harmless’ thing is a brick in someone else’s cage.”

Host: The silence that followed was long and raw. Jack’s eyes were wet — not from tears, but from the slow sting of realization.

Jack: “You know, I used to think feminism was just politics. But it’s really about dignity, isn’t it?”

Jeeny: “It’s about humanity, Jack. About unlearning the idea that one person’s worth depends on another’s gaze.”

Host: The rain outside had softened into mist. The bar’s door creaked as someone left, and a burst of cold air slipped in.

Jack: “So what now?”

Jeeny: “Now? We keep talking. We keep noticing. We keep changing. One conversation at a time.”

Host: He nodded slowly, the faintest smile breaking through. He lifted his glass, clinked it gently against hers.

Jack: “To awareness, then.”

Jeeny: “To evolution.”

Host: The jazz faded into a soft hush. Outside, the city gleamed under the wet streetlights, each puddle reflecting tiny fragments of neon and moonlight.

Host: And as they sat there — two voices tangled in smoke and reflection — the world seemed to shift, just slightly, as if a long-overdue truth had been spoken into the night.

John Schlesinger
John Schlesinger

British - Director February 16, 1926 - July 25, 2003

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