I haven’t watched Maleficent yet, but it sounds a lot more feminist than “feminine”, as it’s characterized in this review – and also a part of the ongoing Hollywood cultural Marxist project of rehabilitating the symbols of evil in the public’s perception, as is being done with heroic vampires, etc. Truly feminine, non-Judaized women adore men and wouldn’t set out to destroy them. The best encapsulation of true femininity as expressed on film for me would be the irrational pastel sensibility Sofia Coppola evinces in works like The Virgin Suicides, Lost in Translation, and Marie Antoinette. Also, while I can’t disagree with the broad sweep of the bullet-point breakdown of masculine and feminine thought patterns, two of the items under “Femininity” – “Loves having resources unused, set aside for a rainy day” and “Is egalitarian, prefers sharing of resources, dislikes and does everything it can to avoid conflict” – would seem to be irreconcilable impulses, particularly in the realm of the political and as manipulated in the wake of the plague of women’s suffrage. For those interested, the extent of the ravages wrought by women’s frankly congoid voting behavior and the degree to which their opposition to competition and their determination to set aside resources “for a rainy day” has bankrupted the United States (much as misandrist popular culture has bankrupted the country morally) is argued in John Lott and Larry Kenny’s paper “How Dramatically Did Women’s Suffrage Change the Size and Scope of Government?”