Yes, Uma Thurman is mad.
She has been raped. She has been sexually assaulted. She has been mangled in hot steel. She has been betrayed and gaslighted by those she trusted.
And we’re not talking about her role as the blood-spattered bride in “Kill Bill.” We’re talking about a world that is just as cutthroat, amoral, vindictive and misogynistic as any Quentin Tarantino hellscape.
We’re talking about Hollywood, where even an avenging angel has a hard time getting respect, much less bloody satisfaction.
Playing foxy Mia Wallace in 1994’s “Pulp Fiction” and ferocious Beatrix Kiddo in “Kill Bill,” Volumes 1 (2003) and 2 (2004), Thurman was the lissome goddess in the creation myth of Harvey Weinstein and Quentin Tarantino. The Miramax troika was the ultimate in indie cool. A spellbound Tarantino often described his auteur-muse relationship with Thurman — who helped him conceive the idea of the bloody bride — as an Alfred Hitchcock-Ingrid Bergman legend. (With a foot fetish thrown in.) But beneath the glistening Oscar gold, there was a dark undercurrent that twisted the triangle.
“Pulp Fiction” made Weinstein rich and respected, and Thurman says he introduced her to President Barack Obama at a fund-raiser as the reason he had his house.
“The complicated feeling I have about Harvey is how bad I feel about all the women that were attacked after I was,” she told me one recent night, looking anguished in her elegant apartment in River House on…