It's an excruciating moment. Mary Tyler Moore being subjected to the troglodyte sexual politics of David Susskind in her appearance on his show in 1966.
Her gentle, genteel response – to cite Betty Freidan – is measured, restrained, but pointed, and it's a perfect encapsulation of the very public struggles of the actress who changed television's perception of women., there's an intent to re-establish Moore as a feminist icon, a status that has become unfortunately diminished for no good reason.
The woman Adolphus depicts and celebrates is a complicated one exactly because she lived and worked on the cusp of cultural change, and never seemed comfortable with being seen as a revolutionary. This self-described daughter of impoverished nobility becomes the narrator of her own live through archive footage, much of it surprisingly open and earnest about her need for approval.
But it's at its most interesting when it truly lets Moore be complicated, especially in her relationship to feminism – a label she often shunned even as her life and on-screen personas were the epitome of women's lib. Maybe that's why she has been somewhat shunned in recent years, because she was an agent of change between white-picket-fence homemaker and independent career women, but she was still ok with white picket fences.
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