as in the referendum to appeal Ireland's eighth amendment. In this case, gender issues were brought to the forefront of social media as a way to transgress politics and push traditionally private female issues into the public. With feminist grassroots organizations, such as Together For Yes, using social media as their primary tool to communicate about abortion laws, the referendum result is viewed as victory for feminist tweeters and a positive outcome of using gender effectively on social media. Responses and movements for change Feminist response In the 1970s, TV critics, academics, and women started to point out the way TV shows portrayed female characters. TV Guide magazine called out the industry for "refusing to rise above characterizations of women as pretty, skinny, dopey, hapless housewives or housewife wannabes", and a poll conducted by Redbook magazine in 1972 showed that "75 per cent of 120,000 women agreed that 'the media degrades women by portraying them as mindless dolls'". In that sense, The Mary Tyler Moore Show was a television breakthrough because it introduced the first female character whose central relationships were not her husband or boyfriend or her family, but her friends and coworkers. The main character was a sort of stand-in for the "new American female" who put her job before romance and preferred to be alone than with the wrong men, but still had to do stereotypically female office work (like typing and getting coffee) and didn't speak up to her boss and other male coworkers. Germaine Greer, Australian-born author of The Female Eunuch (1970), offered a systematic deconstruction of ideas such as womanhood and femininity, arguing that women are forced to assume submissive roles in society to fulfill male fantasies of what being a woman entails. Greer wrote that women were perceived as mere consumers benefiting from the purchasing power of their husband. Women become targets for marketing, she said, and their image is used in advertising to sell products. American socialist writer and feminist, Sharon Smith wrote on the first issue of Women and Film that women's roles in film "almost always [revolve] around her physical attraction and the mating games she plays with the male characters" in contrast to men's roles, which according to the author are more varied. In 1973 Marjorie Rosen, an important contributor to feminist film theory, argued that "the Cinema Woman is a Popcorn Venus, a delectable but insubstantial hybrid of