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Based on other interviews and writings by Ames and Taibbi, it could be inferred that both viewed women as a target ripe for mockery because of the power they seemingly held over men like them: “I note this to illustrate my point: that my ‘misogyny,’ if that’s the right word for it, comes not from ice-cold, cinematic antisocial tendencies, but rather, from fear. Fear and pain. Way too much fear and pain. I ain’t like those other assholes, the axle-grease-on-the-arms misogynists,” Ames wrote in “Meditations of a Misogynist” in the eXiled blog in 2003 .
In the history of theatre there has always been a conflict between engagement and disengagement on politics and relevant issue, between satire and grotesque on one side, and jest with teasing on the other.  Max Eastman defined the spectrum of satire in terms of "degrees of biting", as ranging from satire proper at the hot-end, and "kidding" at the violet-end; Eastman adopted the term kidding to denote what is just satirical in form, but is not really firing at the target.  Nobel laureate satirical playwright Dario Fo pointed out the difference between satire and teasing ( sfottò ).  Teasing is the reactionary side of the comic ; it limits itself to a shallow parody of physical appearance. The side-effect of teasing is that it humanizes and draws sympathy for the powerful individual towards which it is directed. Satire instead uses the comic to go against power and its oppressions, has a subversive character, and a moral dimension which draws judgement against its targets.     Fo formulated an operational criterion to tell real satire from sfottò , saying that real satire arouses an outraged and violent reaction, and that the more they try to stop you, the better is the job you are doing.  Fo contends that, historically, people in positions of power have welcomed and encouraged good-humoured buffoonery, while modern day people in positions of power have tried to censor, ostracize and repress satire.  
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