Dini is one of the most sexist writers that DC currently employs. Look at how his favourite characters include:
* Harley Quinn - a professional psychiatrist turned into a giggling manic schoolgirl by ‘female weakness’. Unable to do anything but follow a continuing cycle of subservience and abuse because "She's Crazy".
* Poison Ivy - see above.
* Catwoman - his major arc with her reduces her to “Woman with heart in Fridge in Idiotic Deathtrap” and "Batman's one lost love ever (who he's never going to commit to a relationship to)", less than half a year after the final issue of her series established her as a strong, independent character who didn't need him. All to attempt at making Hush 'cool'. To presume that you could ever do anything interesting with a character that dull and derivative, and then use the old 'damsel in distress' card...urgh.
Oh, and don't even try and say 'he made up for it by having Selina get her revenge'. Not only had the damage already been done, but additionally it's an incredibly stupid way to wrap up the arc, demonstrating that your protagonist is just as bad as your antagonist - worse, because while he would prefer to simply kill her, she condemns him to a slow, agonising death from his wounds or from poverty. After the share of misfortune we've seen her suffer, it's nice to know she isn't going to be very merciful, isn't it?
* Likewise Zatanna - all the character-building and ideas created by past writer (including Grant Morrison in 7 Soldiers: Zatanna, where she actually seemed as powerful and complex as Doctor Strange), are thrown out the window in favour of a Mary-Sue of his wife - a “Batman’s Almost-Girlfriend” who he has doing regular conjuring tricks over and over in order to make her look cute. In any of the stories she's appeared in, she could have solved the case in five seconds flat, but...it's a Batman book...and it's written by Paul Dini.
* Oh, and the ‘new, improved’ Ventriloquist. I’ve explained this before, but here we go again: The Ventriloquist-Scarface team worked only because it was a juxtaposition of how pathetic Arnold Wesker was compared with his alter-ego; look, for instance, in BATMAN: CITY OF CRIME, where his blank expression and silent demeanour next to his alter-ego gives him an almost frightening aspect. Replacing Wesker with a beautiful vapid blonde woman negates all of the character’s interesting features and potential for scariness, partly because it suggests that Scarface is more of a malevolent spirit than one man’s alternate personality (it is scientifically and psychologically impossible for two separate people to engender the exact same alternate personality), and partly because it implies that beautiful blonde women are just as pathetic as sad, useless old men. Which is a pretty broad generalisation, no?
* …And continuing with that earlier trend, the new Ventriloquist’s basic origin? “Hush’s Old Girlfriend”.