evidence: The fact that extremist readings of Fight Club have risen in prominence since 1999 reflects the way that tensions visible then have since reached breaking point. But beneath those readings lies another interpretation, easily lost in rows over the film’s alleged fascism, which sees the film not as an extremist manifesto but a diagnosis of why such things become attractive. When the film came out, Faludi was promoting her book Stiffed: The Betrayal of the American Man, which mapped some of the same frustrations that drive Fight Club. In her review for Newsweek, she saw a story about men realising they had ended up in the same corner in which women had long been trapped, being subjected to some of the same unending, impossible consumerist pressures women had long put up with. As she notes, Norton’s character begins the film "trying to glean an identity from Ikea brochures, entertainment magazines and self-help gatherings". In No Logo, Klein detected a similar shift, as culture jammers turned their fire from the sexist content of ads to the fact that they had spread everywhere.