Roseanne Barr is Seriously Awesome

Excepts from a commentary she wrote in New York Magazine:

I was not crazy before I created, wrote, and starred in television’s first feminist and working-class-family sitcom (also its last). It didn’t take long for me to get a taste of the staggering sexism and class bigotry that would make the first season of Roseanne god-awful. It was at the premiere party when I learned that my stories and ideas had been stolen. The pilot was screened, and I saw the opening credits for the first time, which included this: CREATED BY MATT WILLIAMS. I was devastated and felt so betrayed that I stood up and left the party. Not one person noticed.

To survive the truly hostile environment on set, I started to pray nonstop to my God, as working-class women often do, and to listen nonstop to Patti Smith’s “People Have the Power.” I read The Art of War and kept the idea “He that cares the most, wins” upmost in my mind. I knew I cared the most, since I had the most to lose. I made a chart of names and hung them on my dressing-room door; it listed every person who worked on the show, and I put a check next to those I intended to fire when Roseanne became No. 1, which I knew it would.

My breakdown deepened around the fourth episode, when I confronted the wardrobe master about the Sears, Roebuck outfits that made me look like a show pony rather than a working-class mom. I wanted vintage plaid shirts, T-shirts, and jeans, not purple stretch pants with green-and-blue smocks. She bought everything but what I requested, so I wore my own clothes to work, thinking she was just absent-minded. I was still clueless about the extent of the subterfuge.

Eventually she told me that she had been told by one of Matt’s producers—his chief mouthpiece—“not to listen to what Roseanne wants to wear.” This producer was a woman, a type I became acquainted with at the beginning of my stand-up career in Denver.

I cared little for them: blondes in high heels who were so anxious to reach the professional level of the men they worshipped, fawned over, served, built up, and flattered that they would stab other women in the back. They are the ultimate weapon used by men against actual feminists who try to work in media, and they are never friends to other women, you can trust me on that.

I grabbed a pair of wardrobe scissors and ran up to the big house to confront the producer. (The “big house” was what I called the writers’ building. I rarely went there, since it was disgusting. Within minutes, one of the writers would crack a stinky-pussy joke that would make me want to murder them. Male writers have zero interest in being nice to women, including their own assistants, few of whom are ever promoted to the rank of “writer,” even though they do all the work while the guys sit on their asses taking the credit. Those are the women who deserve the utmost respect.) I walked into this woman’s office, held the scissors up to show her I meant business, and said, “Bitch, do you want me to cut you?” We stood there for a second or two, just so I could make sure she was receptive to my POV. I asked why she had told the wardrobe master to not listen to me, and she said, “Because we do not like the way you choose to portray this character.”

I said, “This is no fucking character! This is my show, and I created it—not Matt, and not Carsey-Werner, and not ABC. You watch me. I will win this battle if I have to kill every last white bitch in high heels around here.”