I attributed it to WML's obsession with Wondy-as-Gender-War. You'll note the Deathstroke team-up is a story about very gendered violence - Diana and Minerva are threatened by a pretty poorly-veiled rape, here, not just on the metaphor level (possession by an Elder Evil) but on a physical one as well (the possessed body then to be used for consummation with the demon husband dude who captured them). Diana then goes on to fight a cosmic rebellion against a race of only men who enslave only women, and you can divide the gang wars and Diana's redemption of Circe & Cheetah and slaying of Asquith along pretty stark gender lines as well (Cheshire, Ivy, Cheetah, hired by the basically-sane Widow Sazia, to fight the irredeemable Paulie Longo and his demonic White Magician ally... it's all very unsubtle once you look). The way WML goes out of his way to drive the point home in the dialog is almost an afterthought, really.
Which isn't an inherently bad concept, actually, Diana being more concerned than most with combating gendered violence (though making her its target, failed or otherwise, is a very different thing), because feminist critique of Western society and a particular concern for sex-based injustice is very much an intrinsic part of her mythos, whether DC likes it or not. It requires a writer who has any idea what the hell she's talking about, though, which WML (and Jelenic, and Luke to some extent, and any number of pre-Crisis authors, and...) was very much not.