The performance of a lifetime | Jean Hatchet | The Critic Magazine

In March 2022 Dylan Mulvaney saw a way to take his barely-concealed disdain for women up a level, with predictable success. After his career as a musical actor had stalled due to the Covid pandemic, with people finding solace daily on Tik Tok, wily Dylan invented a new role that guaranteed his future wealth and success. He announced he was embarking on a journey of “being a girl” and began a series of videos documenting this ludicrous notion.

Shortly before this year-long, very public “transition”, Mulvaney performed a pilot video for his current lucrative act. In it he told the viewer that he “had trouble finding roles” so a friend had invented one for him, a “femme character”. His character wears a pink dress and pearls, white gloves and ankle socks.

Now, just over a year later, Dylan Mulvaney has highly paid “partnerships” with a number of companies including Budweiser, Kate Spade and — during the past week, to great objection — the Sportwear giant Nike.

When a man “performs woman” in front of women to such a humiliating degree, when he waggles and jiggles and implies that weakness and silliness are inherent to being a woman who plays sport, women appropriately see this for the deliberately constructed misogyny it is.

All of this encapsulates the stereotype of women as emotionally fragile, frivolous spendthrifts, imprudent around clothes and financially inept.

Shortly before he began this career-saving venture of “being a girl”, Mulvaney can be found mocking a female cheerleader in a sketch where he pretends to break his leg.

Gender identity is once again the smokescreen for misogyny, and negative criticism leads to an award-worthy performance of his being hurt and bullied. Mulvaney simply reverses the victim and offender. Women are bullies, he is the target. Many women recognise this pattern from relationships with abusive men.

The insult for women comes not from the fact that Mulvaney is given vast sums of money or attention, but that he is given it whilst performing an insulting version of what a woman is or how she experiences the world from birth.

Mulvaney has a very privileged background of successful financier male ancestors. Nothing says patriarchy more clearly than a man being offered huge sums of money by companies to pretend to be a woman, whilst actual women sit at home fretting how to feed their children during an economic crisis.

As the final part of his “365 days of girlhood”, Mulvaney undergoes very expensive facial feminisation surgery. This is suggested as the very epitome of ensuring he is seen as female. Conveniently little mention is made of the penis he retains. Shaved forehead bones might whisper and suggest “woman” more effectively, but a penis roars “man” at a deafening pitch.

In a sinister ending to this video, Mulvaney says he is “nervous for you” and suggests ominously that women will be punished in the future for their “transphobia”. It is an emotionally manipulative attempt to protect lucrative sponsorship and secure his brand from appropriate scrutiny.

Source: The performance of a lifetime | Jean Hatchet | The Critic Magazine