“He can be sweet, bitter, nostalgic, or cynical, but he cannot figure out how to be a man”

Hanna Rosin, in The Atlantic’s “The End of Men,” reports on the cultural sea change taking place between women and men:

To see the future—of the workforce, the economy, and the culture—you need to spend some time at America’s colleges and professional schools, where a quiet revolution is under way. More than ever, college is the gateway to economic success, a necessary precondition for moving into the upper-middle class—and increasingly even the middle class. It’s this broad, striving middle class that defines our society. And demographically, we can see with absolute clarity that in the coming decades the middle class will be dominated by women.

We’ve all heard about the collegiate gender gap. But the implications of that gap have not yet been fully digested. Women now earn 60 percent of master’s degrees, about half of all law and medical degrees, and 42 percent of all M.B.A.s. Most important, women earn almost 60 percent of all bachelor’s degrees—the minimum requirement, in most cases, for an affluent life. In a stark reversal since the 1970s, men are now more likely than women to hold only a high-school diploma. “One would think that if men were acting in a rational way, they would be getting the education they need to get along out there,” says Tom Mortenson, a senior scholar at the Pell Institute for the Study of Opportunity in Higher Education. “But they are just failing to adapt.”

And the results are already showing up in pop culture:

American pop culture keeps producing endless variations on the omega male, who ranks even below the beta in the wolf pack. This often-unemployed, romantically challenged loser can show up as a perpetual adolescent (in Judd Apatow’s Knocked Up or The 40-Year-Old Virgin), or a charmless misanthrope (in Noah Baumbach’s Greenberg), or a happy couch potato (in a Bud Light commercial). He can be sweet, bitter, nostalgic, or cynical, but he cannot figure out how to be a man.

…

Of all the days in the year, one might think, Super Bowl Sunday should be the one most dedicated to the cinematic celebration of macho. The men in Super Bowl ads should be throwing balls and racing motorcycles and doing whatever it is men imagine they could do all day if only women were not around to restrain them.

Instead, four men stare into the camera, unsmiling, not moving except for tiny blinks and sways. They look like they’ve been tranquilized, like they can barely hold themselves up against the breeze. Their lips do not move, but a voice-over explains their predicament—how they’ve been beaten silent by the demands of tedious employers and enviro-fascists and women. Especially women. “I will put the seat down, I will separate the recycling, I will carry your lip balm.” This last one—lip balm—is expressed with the mildest spit of emotion, the only hint of the suppressed rage against the dominatrix. Then the commercial abruptly cuts to the fantasy, a Dodge Charger vrooming toward the camera punctuated by bold all caps: MAN’S LAST STAND. But the motto is unconvincing. After that display of muteness and passivity, you can only imagine a woman—one with shiny lips—steering the beast.