The 1980s were a time of tremendous change for the feminist movement in North America, and one of the ways in which this can be seen most strikingly is by observing the split of feminist movement movement on the topic of female sexuality. In contrast to the first unity of feminism on issues such as women in the workplace and reproductive rights, the end of the second wave and the beginning of the third wave can be seen as characterized by the definitive split of feminism. that unit on the moving controversies regarding sex and pornography (Hall 255-256). This division can be considered to have taken root in the 1980s (Hall 256-257), and, in that, William Gibson's characterization of Molly Millions from Neuromancer, published in P. Burke's characterization that, in "The Girl Who Was Plugged In,” is depicted as a disfigured, suicidal female victim who is given the opportunity to renounce her former identity and become a remotely managed “God” who essentially “lives” to promote the products of the mega- GTX corporation (Tiptree Jr 205-206). In P. Burke's new role as an essentially subversive advertising object, she loses both her identity, becoming Delphi, and her autonomy, in GTX's control over her actions, to the will of the society to which she is literally a slave. Both P. Burke and Molly represent marginalized women, with P. Burke being marginalized because of her appearance, which the story's narrator compares to a "poisoned carcass" and a "monster" (Tiptree Jr 228). P. Burke's victim role is something that is repeatedly reinforced throughout the story, from the beginning when she commits suicide because she is alienated by her disfigurement (Tiptree Jr 203-204), until her life is saved only if she agrees to be co-opted as an object of mass publicity (Tiptree Jr 205), and then, finally, when she dies and is remembered, by the one person who professes to have "truly love[d]" the "real P. Burke", as the "greatest cybersystem I have ever known" (Tiptree Jr