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New but not surprising. People involved in retail theft prevention have known this forever. There is no reliable profile for a potential shoplifter. It can be anyone.
Surely you are not suggesting that it’s not possible to reason probabilistically about who is more or less likely to shoplift? I don’t think anyone believes that it is possible to definitively rule anybody out, but I would be shocked if it’s not possible to draw useful and reliable conclusions about whom to devote more resources to focusing on.
Demographically no, behaviorally on the other hand...
I half suspect that the prog preoccupation with idpol and demographics stems from an underdeveloped sense of social awareness. IE that in lacking the normal predator/danger sense and background theory-of-mind they find themselves defaulting to coarser easier to read signals.
Related: we have deliberately and accidentally managed to make almost every way to read social class in strangers more difficult and unreliable. Imagine this scene from My Fair Lady, or its equivalent lines in the inferior Pygmalion original, today. The entire concepts behind the play almost don't make sense in today's world.
The modern upper class, such as it is, uses constant negro and lower class slang. The pattern of speech can be distinguished over time, but not cleanly and easily. It will take a minute or more of conversation, in a lot of cases, to reliably place someone as rich or poor, and hours to place them in a decile unreliably. Accents are muddled, or affected for gravitas. Where the Scottish Enlightenment philosophers specifically took classes to eliminate their accents, the modern upper class affects accents to seem plebeian.
Where fashion conscious they dress in fashions drawn largely from hip-hop, which in turn derive from street gangs and prison culture; where slovenly they dress in ways so pointlessly indistinct as to be unreadable. Unless one is very adept at reading branding, one cannot at a glance tell who is rich and who is poor. Where in Victorian England the clothing items chosen, the cleanliness and state of repair, the quality and thickness of the fabric, the cut, would all tell you instantly someone's social class. White collar and blue collar mean nothing with the abolition of dress codes in offices and the tendency for office workers to dress like Lumberjacks for fashion purposes. Tattoos are basically as common on young ivy leaguers as they are on bikers these days.
As a result, where in olden days one could rely on reading individuals by class, many now fall back on race, because skin color is one of the few things that can't be altered.
Sir, this insult to the great work of Bernard Shaw unsullied by the "musicalification" needed to make it palatable to the common mind shall not go unchallenged. I demand satisfaction!
(Though you have to admit, Hepburn was resplendent in the film, but she was resplendent in all of them, so that doesn't get it any points)
God forbid anyone jazz up a dry-as-dust social farce with several of the best songs in the entire Western musical tradition. No, we can only deliver messages by having everyone stand quietly in a drawing room and exchange their views. Shavian "humor" indeed.
Seriously, Pygmalion is a fine work, but the musical is superior. The songs have at least three absolute bangers, the kind of stuff that gets played without reference to the musical and has become part of the American Songbook tradition: Wouldn't it be Loverly, The Street Where You Live, and Get Me To The Church On Time ((Which I also force everyone to listen to before planning any Bachelor/ette party: if your party doesn't meet this basic theme it is a complete failure, a Groom Shower for mincing pussies not a proper Stag)). Then the next tier of plot specific songs all make for great reaction youtube links, Why Can't the English, A Little Bit of Luck, Just You Wait, You Did It. The music is fantastic, a classic in its own right.
Then, the plot changes. The Frasier-Crane-Ass naysayers have always argued that the musical's happy ending is a betrayal, ruins the oh-so-serious dark complexity of Shaw. Codswalllop. Shaw's original was, dare I say it?, too woke. It's a feminist fantasy, where once educated Eliza must become self-actualized, free from her prior restraints, independent and determined to live her own life. Women universally prefer the musical. Because that is the way that a woman would really act if she were carved from marble by a man she'd be under his spell and never really escape. Rex Harrison is the sexiest man in the universe to most women watching the play, why would Eliza leave! The play has a too optimistic bluepill view of female and human nature, the musical corrects it.
The play isn’t “blue pill” or woke, it’s just telling a different story with completely different motivations for the protagonist.
The film genericizes the plot into the generic Pretty Woman romcom where the charming and suave man saves the humble and overlooked girl from a miserable life and elevates her. It’s the classic ‘I can fix her’ narrative which appeals - as all the best romantic comedies do - to both sexes. It’s not even necessarily gendered, since it’s a fantasy for both sexes to get a “great deal” on the dating/marriage/sex marketplace by taking someone of lower status and elevating them above what they could get in their own class / status / looks range to start with. See jokes about dating a fat girl and taking her to the gym etc.
The original story is darker and involves actual satire, the rest of the cast are much more fleshed out, and the ending retains a glorious ambiguity. My Fair Lady is merely the default romcom with some limited aesthetic influence from Pygmalion, if even that. In addition, Higgins has a lot of Shaw in him, and Shaw seems to have had a strange disinterest in sex that would make elevating a pretty peasant girl to society for himself to fuck incongruent with the narrative as presented.
Part of the humor of the story is that he really is doing it as a bet, not to sleep with Eliza.
There's whole sequences in both plays devoted to showing this, I'd argue it was much more effectively achieved in the musical where the disinterest is easier to show in blocking and attitude, along with two whole ass songs about it, where the play shows it by character walks into room and gives dissertation on the topic. The romance isn't remotely similar to Pretty Woman, as you say Higgins isn't seeking to "make a good deal" which is where the humorous character of the father comes into view. The humor and romance is precisely finding love at a time when you aren't looking for it, about closeness and intimacy melting neuroticism and narcissism.
I see what you’re saying, but I just don’t think it comes across that way. Call me a cynic but I think there’s an underlying suggestiveness to Higgins’ behavior in My Fair Lady around the prurient motive. And Shaw goes a great distance to remove that from the play, and then the musical puts it back and expects the song to remove the muddiness.
And it’s like you kind of suggest in your first post, My Fair Lady is a sexier story. Men dream of finding the diamond in the rough, the beautiful girl who doesn’t know how beautiful she is. Women dream of being plucked from mundanity and raised to a better life. But if we buy that, and we buy the new ending, then is it really likely that the thought wasn’t in the back of Higgins’ mind the whole time?
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