The Other Charlotte has brilliantly illuminated how Naomi Wolf — the feminist icon who belatedly claims that 73-year-old Yale scholar Harold Bloom put his hand on her thigh while George W. (for Washington) was in the White House — is similar to the gals on NBC’s reality show ‘The Apprentice.’

(Scroll down for Charlotte’s “What Do the Apprentice Gals and Naomi Wolf Have in Common?”)

At the risk of sounding like one of those ditz-brains who don’t seem to grasp that Ozzie and Harriet were TV characters, I’d like to point out yet another similarity, albeit one between Wolf and only one of the Trump ladies, Omarosa, the ill-humored shirker of the last two episodes.

What do they have in common? They both consciously and deftly exploit a stereotype. Wolf’s stereotype: woman as helpless victim of male predator. This stereotype is the foundation of the careers of Wolf and many other feminists.

But when you “look behind the stereotype” — as we are always sanctimoniously being urged to do — you see something quite different. For one thing, you see Naomi getting drunk with and sharing erotic poems with Professor Bloom. Her erotic poems, most likely left at his residence. When Bloom famously tells her she’s “sick,” it may be more that she’s throwing up from over-imbibing rather than that he’s being mean.

Wolf portrays herself as somebody who was permanently damaged by her male predator. As columnist Anne Appelbaum notes, “She also implies that she never recovered academically, which isn’t quite the case. I was her contemporary, and happen to remember some of her achievements. But although I scoured the article, I could find no reference to the fact that Wolf did eventually win a Rhodes Scholarship, thanks, in part, to a recommendation letter written by Bloom. Or that, while in England, she began writing “The Beauty Myth,” the first of those bestsellers.”

Omarosa’s stereotype: the African-American professional who suffers in the workplace because of her race. Washington Post writer Teresa Wiltz opines that the show has been edited to make Omarosa look like “The Evil Sista of Reality Television.”

The article meanderingly notes that the stereotype “feeds off preconceived notions of African American women. After all, she’s an archetype as old as D.W. Griffith, first found in the earliest of movies where slave women were depicted as ornery and cantankerous, uppity Negresses who couldn’t be trusted to remember their place. Think Hattie McDaniel in ‘Gone With the Wind,’ bossing and fussing as she yanked and tugged on Miss Scarlett’s corset strings. Or Sapphire Stevens on the much-pilloried ‘Amos N’ Andy,’ serving up confrontation on a platter, extra-spicy, don’t hold the sass. Or Florence, the mouthy maid on ‘The Jeffersons.'”

But, in point of fact, as anyone can see, Omarosa has an inflated ego, is rude and often downright unkind, and refuses to pitch in when there is any real work to be done. At the hint of criticism, she claims it’s because she’s African-American when, manifestly, she is just one mean sister.

As they say, it’s always good to look behind the stereotypes…