Fourth Wave feminism, more of the same bitchiness, but spruced up with digital hash-tags and micro-everything

This well-intentioned piece from the Financial Times deigns to spell out what the new and blossoming “fourth wave” of feminism stands for, fights for, perhaps signifies.


How many different incarnations of a “feminist movement” must we collectively experience as a berated culture before we can finally…”accept” women as equals?

Now that women enjoy unprecedented levels of equality, it appears feminists have exhausted things to bitch about so now they have resorted to peddling the touchy mentality of “micro-offenses” in exchange for self-empowerment.

It would be very much an insolvent move for a cultural march to declare “mission accomplished,” especially one manned by women, a gender notorious for beating a dead horse.

In fact, Melissa Harrison, the author, writes in this article:

Things are very different now. Much of the west is experiencing what’s been dubbed the “fourth wave” of feminism – following the first, which secured the vote and changes to property rights a century ago, the second, in the 1960s and 1970s, and third, in the early 1990s. Perhaps each generation must reinvent feminism for itself, for while some things have improved for some women, new pressures and injustices have taken their place – and new voices, new heroines, must be found to counter them.

Yes, feminism must continue reinventing itself ad nauseum because, as the archetypal tiresome house-hunter on HGTV or foodie elitist on Food TV display to us, the typical 21st Century woman must always deconstruct humble reality into an entropy-ridden glob of misery and spite topped with a generous dose of dissatisfaction.

Fourth wave feminism is about finding a new shape and form by which to digitally plague us with the tired Women Are Victims Dialogue.

Yet again.

Mindless platitudes and warm whispers of confounding emotional blandness.

From a photo album by Jinan Younis appearing in the Financial Times article (
From a photo album by Jinan Younis appearing in the Financial Times article (