Claire Dederer's Paris Review blog, ‘What Do We Do with the Arts of Monstrous Men?’ (2017), raises several pertinent questions of the difficulty of consuming work by male artists whose crimes or moral transgressions are public knowledge and how difficult it becomes to continue to praise their work. As she says, the ‘awful thing disrupts the great work’. The piece discusses how Dederer felt ‘betrayed’ by Woody Allen's affair with Soon-Yi Previn and how the subsequent allegations involving Dylan Farrow produced ‘elemental’ feelings in her. Dederer talks subsequently about revisiting Allen's work, of paying to watch Annie Hall (1977), and how she experiences a lack of fairness in having to give up something she sees as ‘the greatest comic film of the twentieth century’, but watching Manhattan (1979) feels so transformed by what came after and she concludes that ‘its pro-girl anti-woman story would be upsetting even if Hurricane Soon-Yi had never made landfall, but we can't know, and there lies the very heart of the matter’. Dederer cannot approach the work without its history, without the accumulative biographical knowledge that makes re-watching or paying for the work feel immoral: ‘What do I do about the monster? Do I have a responsibility either way?