The case of Joanna Dennehy, the first British woman to receive a whole-life tariff from a judge, is extremely disturbing. The 31-year-old mother-of-two's "murder spree" included the fatal stabbing of three men, and attempts on the lives of two others. The only other women given whole life sentences were Myra Hindley and Rose West, by Jack Straw, during the time he was home secretary. Mr Justice Spencer described Dennehy as "evil" and a "cruel, calculating, selfish and manipulative serial killer".

However, amid the shock and revulsion at Dennehy's crimes, is there a side issue here, one that requires wider society to examine its own distorted reaction to female killers, in terms of myth-making and sexualisation?

With respect, "evil" is an archaic, unhelpful concept. Dennehy's crimes indicate mental issues that may yet be officially diagnosed during her incarceration. Away from that, Dennehy's determination to self-mythologise is chillingly obvious. There is a photograph of her posing provocatively with a knife. She is said to have phoned someone after a killing, to say: "Oops, I did it again!" while the relevant Britney Spears track played in the background.

Elsewhere, Dennehy's behaviour had a default setting of contempt and bravado, but also of scene-setting: styling herself and accomplice, Gary Stretch, as Bonnie and Clyde; later, dancing into the police station after her arrest, quipping to officers: "It could be worse; I could be fat."

In some twisted way, it seems as if Dennehy wanted to ensure that the world recognised her as the lead player in her own homicidal "storyline" – providing drama (car chases, public attacks, set pieces), and taking pains to be highly quotable.

It was as if she saw herself as some kind of fictional outlaw heroine, a Thelma without a Louise, or a cartoon psychopath, along the lines of Freddy Krueger or Hannibal Lecter – both of whom could be relied upon to be "witty" as they killed, a cut above the average psychopath. In this way, the case takes on a jarring pop-cultural element – Dennehy knowing that her crimes would make her notorious, welcoming the attention, even seeming to prepare for it, by putting on a "good show".

If this theme of self-mythologising is accurate, then it's more worrying still that the likes of Dennehy rarely work alone. While it's true that Dennehy used her own sexuality in her crimes, it's also evident elsewhere in the bizarre "sexy" tag that so often automatically attaches to notorious female killers.

There's a palpable feeling of instant sexualisation about Dennehy's media profile that you just wouldn't see with a male murderer. In the same way that mentally-ill women often become eroticised, so, too, do female killers.

Male killers might get termed monsters, but they are not generally treated in the same way – in Dennehy's case, as the crazy-girl man-killer with the tongue piercing and tattoo. This ongoing fascination with, and uber-sexualisation of, murderous women, was dealt with by the anarcho-pop group, Crass, in their 1979 lyric on underlying public hypocrisies regarding Myra Hindley ("A chance to screw her is a chance you wouldn't miss"). Decades on, this still feels relevant.

It serves us to remember that heightened interest in female killers is most probably due to their extreme rarity. Males are the most likely to kill multiple times. Statistically, as a young woman, Dennehy was far more likely to have ended up being killed at the hands of a man, rather than become a man-killer. However, this scarcity does not exempt society from its inappropriate, at times quasi-erotic, response to murderous women.

The relative rarity of female killers does not excuse what appears to be the routine sexing up of both their personas and crimes. Just as there was nothing remotely "sexy" about the Raoul Moat murders, the same applies to the appalling crimes of Joanna Dennehy.

Robin, just stop being so Thicke

Robin Thicke, the Blurred Lines" crooner, has been warbling lovelorn songs onstage in an effort to win back actress wife Paula Patton, who recently separated from him. As I'm all heart, here are some marital tips for Thicke.

First of all, Thicke has to stop singing such spouse-embarrassing lyrics as "I'll give you something big enough to tear your ass in two". This comes across as the lyrical equivalent of men who overcompensate for their tiny penises by buying huge yachts and cars. I'm not saying that Thicke has a tiny penis, but the crudely sexual braggadocio of Blurred Lines would worryingly suggest it is so.

Thicke must also stop cavorting with topless models in videos, as well as prancing creepily about onstage with extremely young female artists as they twerk against his groin, and prod it with foam fingers. This is the dark side of dad dancing. From now on, Thicke must think of the children – including the ones onstage with him.

Here's the stinger: Thicke must stop hanging out with Pharrell Williams. Before Pharrell, Thicke never had this kind of trouble. Granted he never had this kind of success either. Also, pre-Pharrell, Thicke spent rather too many years styled as though he was permanently on red alert to step in as David Hasselhoff's number two body double. Nevertheless, Pharrell has to go.

Most importantly, for his marriage and his soul, there can be no more yes people gushing to Thicke about how he is wonderful, controversial, relevant, and the rest. From now on, it's all about the unvarnished truth, courtesy of his new special adviser (moi). All I want in return is an undisclosed six-figure sum, and a pre-loved foam finger. I will be awaiting his call.

Rebecca's nose is hardly a feminist cause célèbre

Does Olympian Rebecca Adlington's nose job truly count as a feminist issue? I sympathise with people (male and female) who loathe their noses – plonked right in the middle of their faces, there's no escape from the hate object. In which case, why should Adlington keep her nose just to prove how "strong and feminist" she is? Isn't it equally strong to know your own mind, and fix what's making you self-conscious and miserable?

Adlington famously felt hounded about her appearance, but this does not mean she was hounded into the rhinoplasty. People have plastic surgery for myriad reasons – Courtney Love told me that she'd had her nose done to get her "father off her face". It's not always about the tyranny of the male gaze – some people want to change this or that facial feature for themselves.

It makes me uneasy that Adlington's surgery is being perceived as a cowed, beaten, conformist response to outside pressure, as if she were unable to own her adult decisions. Was Adlington's nose job unnecessary? I'd say so, but it's got nothing to do with me. It wasn't my nose, and I wasn't the one who hated it.