Loosely based on Michael Punke’s The Revenant: A Novel of Revenge (2002), the film is a reimagining of the tale of real-life nineteenth century American frontiersman Hugh Glass. Yet I’m less concerned here with discussing the film itself than the bizarre discourse that has manifested around it. As documented with almost ritualistic fury across social media, the gendering of language by some around the film has been astonishing, even for those of us resigned to the constant drumbeat of casual misogyny issued by Film Twitter’s dominant dude-bro regime.