Latest / Honey Badger Radio / Woman’s desires are silenced; men’s desires are evil | Maintaining Frame 179

Transcript

Woman’s desires are silenced; men’s desires are evil | Maintaining Frame 179 · Honey Badger Radio

• 0:00
  Speaker 1: Hello everybody, and welcome to Honey Badger Radio. And he
• 0:03
  Speaker 1: was Brian, I'm here with Allison, and this is episode
• 0:07
  Speaker 1: one nine of maintaining Frame. Women's desires are silenced, men's
• 0:12
  Speaker 1: desires are evil? And what's the what's on the things? Yeah?
• 0:21
  Speaker 2: All right, So we got three requests from the ineffable
• 0:24
  Speaker 2: Richard Bierre, and the first one is the absolute degeneracy
• 0:32
  Speaker 2: of modern writing, and it is by the second stage,
• 0:36
  Speaker 2: I think. And she does analysis of writing, which is
• 0:41
  Speaker 2: second story, and she does analysis of writing and the
• 0:45
  Speaker 2: current state of the publishing industry, which I don't even
• 0:49
  Speaker 2: know if you can refer to it as literature. It
• 0:51
  Speaker 2: is basically just prawn porn wall to wall, every day,
• 0:57
  Speaker 2: every moment for women, put out in public where wherever
• 1:02
  Speaker 2: it can. It just like it's basically just filling up
• 1:05
  Speaker 2: the crooks and cant crannies like a gigantic tsunami of
• 1:11
  Speaker 2: gooning everywhere. It's just flooding everywhere. And it's because we
• 1:19
  Speaker 2: don't really, we don't actually push back against women's sexuality
• 1:24
  Speaker 2: in any capacity at all, really dead We barely barely
• 1:31
  Speaker 2: control women when it comes to their sexual violence. In fact,
• 1:34
  Speaker 2: I would argue that we don't and much less. They're
• 1:37
  Speaker 2: fantasies which now are encrusting the entire society. We are
• 1:41
  Speaker 2: actually turning into a society, a society wide concrusted mess
• 1:50
  Speaker 2: of women's fantasies. You see that it's in the the
• 1:56
  Speaker 2: handmaiden's tail, which is like I just recently saw did
• 2:01
  Speaker 2: you see this post? It was a post of a
• 2:05
  Speaker 2: woman who took a picture of herself in a handmaid
• 2:08
  Speaker 2: handmaiden's dress and incidentally, looking at the woman, she probably
• 2:12
  Speaker 2: should be in gray and emptying trash cans, not an
• 2:15
  Speaker 2: actual sexy red handmaiden, but she's And she was like
• 2:20
  Speaker 2: standing beside some guards or some National guardsmen in Washington,
• 2:25
  Speaker 2: d C. Have you seen this photo?
• 2:28
  Speaker 3: No?
• 2:28
  Speaker 2: Yeah, So there was four like guardsmen who were just
• 2:31
  Speaker 2: sort of standing there making things more safe, and she
• 2:35
  Speaker 2: posed herself and another woman in sexy red handmaiden's dresses
• 2:41
  Speaker 2: because it's it's the red symbolizes their desirability, of course,
• 2:45
  Speaker 2: and these dudes are just standing there making sure people
• 2:48
  Speaker 2: don't you know, get kidnapped, get things stolen, you know, robbed, carjackings,
• 2:54
  Speaker 2: just trying to enforce the laws, as you know, as
• 3:00
  Speaker 2: is happening in Washington, DC's and all of this stuff
• 3:03
  Speaker 2: is going down. Whether or not you like Donald Trump,
• 3:06
  Speaker 2: this is what's happening. And she's making she's making it
• 3:10
  Speaker 2: about herself in some kind of sexual exploitation of women
• 3:12
  Speaker 2: by posing herself beside these guys, and these guys are
• 3:15
  Speaker 2: just chilling because they know that she's probably not a
• 3:19
  Speaker 2: danger of any sort. And then one dude's like waving
• 3:22
  Speaker 2: to the camera like Hi, mom, it's just And that
• 3:28
  Speaker 2: is turning this political situation into a fantasy that centers
• 3:36
  Speaker 2: your sexual desirability. That's what that is. There's absolutely no
• 3:40
  Speaker 2: reason to harass these men while they're doing work to
• 3:44
  Speaker 2: draw them into your weird, fucked up political sexual Gorean
• 3:48
  Speaker 2: fantasy otherwise known as nineteen eighty four plus gore for women,
• 3:57
  Speaker 2: this contrived nonsense to the Handmaiden's tale. There's no reason
• 4:00
  Speaker 2: for it except that you are wanting to make a
• 4:05
  Speaker 2: public spectacle of yourself as a as a as a ming,
• 4:11
  Speaker 2: as a actor in your own freaking stage. And that's
• 4:15
  Speaker 2: like this. The politics is becoming saturated with women's thinking
• 4:21
  Speaker 2: via their sexuality, so thinking in terms of this constant Oh,
• 4:25
  Speaker 2: I'm going to be exploited sexually, I'm going to be
• 4:28
  Speaker 2: sexually assaulted, et cetera, et cetera. That that that constant
• 4:31
  Speaker 2: refocusing on the ultimate desirability of you as a woman.
• 4:35
  Speaker 2: And then you have like female sexual fantasies being stole
• 4:38
  Speaker 2: in Walmart at eye level with toddlers and all of
• 4:42
  Speaker 2: this other crap. And it's again because we don't say
• 4:46
  Speaker 2: to women, stow it. We say it to men. You know,
• 4:51
  Speaker 2: you're not going to find. You're not going to find
• 4:54
  Speaker 2: I don't know, foot fetishes monthly on the on the
• 4:57
  Speaker 2: lower rack at Walmart. You know, we tell men to
• 5:01
  Speaker 2: stow that ship, put it in brown paper bags, keep
• 5:03
  Speaker 2: it in your rumpus rooms, you know, that kind of thing.
• 5:06
  Speaker 2: Just don't bring it out into public, don't Yeah, don't
• 5:11
  Speaker 2: expose it to But no women can just they can
• 5:13
  Speaker 2: just shove their sexuality into everything, into politics, into literature.
• 5:19
  Speaker 2: And that's basically what we're discussing. So obviously the title
• 5:23
  Speaker 2: is ironic. Women are not being silenced. They're allowed to
• 5:27
  Speaker 2: and at any attempt at imposition of any kind of
• 5:32
  Speaker 2: boundaries or sense of uh morals, you know, like this
• 5:37
  Speaker 2: isn't appropriate for public display any of that, or this
• 5:41
  Speaker 2: isn't really relevant to the politics of DC, Like how
• 5:44
  Speaker 2: did how does the National Guard coming in to reduce
• 5:48
  Speaker 2: crime and DC have anything to do with the Handmaiden's tail?
• 5:52
  Speaker 2: Exactly nothing to do with it.
• 5:55
  Speaker 1: Well there is, okay, well they obviously want to protest that,
• 5:59
  Speaker 1: and and yes the message doesn't seem to match. But
• 6:03
  Speaker 1: maybe they think that policing women in this in this
• 6:09
  Speaker 1: role as the biggest victims of you know, using like
• 6:13
  Speaker 1: the National Guard to police Washington, DC might have a
• 6:17
  Speaker 1: more effective emotional effect because you're seeing women. I mean,
• 6:23
  Speaker 1: I can't that's if I'm being really charitable, that's what
• 6:25
  Speaker 1: I can think of.
• 6:26
  Speaker 2: So, yeah, I should find that photo for you guys
• 6:29
  Speaker 2: so you can take a look at it. But of
• 6:30
  Speaker 2: course we do have to describe it for our non
• 6:33
  Speaker 2: viewers listening after the fact. It was just ridiculous and
• 6:39
  Speaker 2: I understand the cracked logic, but really it's just an
• 6:43
  Speaker 2: excuse to insert your sexuality where it doesn't belong.
• 6:46
  Speaker 1: Yeah. I don't even think it has anything to do
• 6:48
  Speaker 1: with like like what you're learning, you know, like like that,
• 6:53
  Speaker 1: like people knowing how to write or having been taught.
• 6:56
  Speaker 1: I think it's just like, you know, everyone now can
• 7:01
  Speaker 1: write blogs, and emails, and so everybody gets the idea
• 7:04
  Speaker 1: that they're a writer, and then they just start writing smut.
• 7:06
  Speaker 1: And there are people who want that. And the only
• 7:10
  Speaker 1: thing is is that we just don't accept that women
• 7:13
  Speaker 1: want it too. That's basically the only thing is that
• 7:16
  Speaker 1: people just don't want to accept that this is something.
• 7:18
  Speaker 1: And it's not like a certain kind of woman, like
• 7:20
  Speaker 1: a you know, like some kind of trailer park hand
• 7:23
  Speaker 1: beast that eats chocolates all day and watches reality TV. No,
• 7:26
  Speaker 1: it's it's just women, like not all of them, but
• 7:30
  Speaker 1: you know, women of any background, of any class, of
• 7:33
  Speaker 1: any creed, they they all have this m hm.
• 7:38
  Speaker 2: And so I figured we'd look at somebody talking about
• 7:43
  Speaker 2: what publishing has turned into, and then we'd look at
• 7:47
  Speaker 2: someone talking another individual talking about why the Wheel of
• 7:51
  Speaker 2: Time failed, Greg Owen, because that is something that is
• 7:57
  Speaker 2: media that should have appealed to men. And of course,
• 8:00
  Speaker 2: once again, I'm guessing that it also had specific changes
• 8:06
  Speaker 2: to appeal to a female audience's and products sensibilities as well.
• 8:10
  Speaker 1: That might be well, probably, I don't know about that.
• 8:14
  Speaker 1: I never watched Wheel of Time because I knew it
• 8:16
  Speaker 1: was going to be girl Boss trash Yeah, that's.
• 8:21
  Speaker 2: Just what the usually that's part and parcel that you
• 8:25
  Speaker 2: have the girl Boss trash and then certain characters or
• 8:29
  Speaker 2: situations are altered also appeal to the romanticy audience because
• 8:35
  Speaker 2: that's yeah.
• 8:37
  Speaker 4: And.
• 8:39
  Speaker 1: It is it like could this have all just been?
• 8:42
  Speaker 1: Because I mean, I'm not saying it never exists. Obviously
• 8:44
  Speaker 1: it's always existed, but like the making it mainstream and
• 8:46
  Speaker 1: making it so like ubiquitous. Is that because of Twilight?
• 8:52
  Speaker 2: Yes?
• 8:53
  Speaker 1: Yeah, I think so. Yeah, I never read it, but
• 8:56
  Speaker 1: that's my that's what I would guess.
• 8:59
  Speaker 2: Yeah, Okay, let's let's let's get into it. Let's let's start,
• 9:02
  Speaker 2: all right.
• 9:02
  Speaker 1: So the second story it's called.
• 9:05
  Speaker 2: The Things, all right, So, if you would like to
• 9:10
  Speaker 2: send us a message anytime throughout the show, you can
• 9:13
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• 9:16
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  Speaker 2: for more information on that, and you can also support
• 9:51
  Speaker 2: the event. And I have to do a big shout
• 9:53
  Speaker 2: out to Janice Fiamengo who did support. She actually she
• 10:00
  Speaker 2: isn't going to be able to come. She really wanted to,
• 10:02
  Speaker 2: but her there was some family also family health issues.
• 10:05
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• 10:32
  Speaker 2: dot com. All right, so yeah, let's just get into it.
• 10:35
  Speaker 2: I mean it's quite late already.
• 10:36
  Speaker 1: All right, Let's play a bit of the intro. This
• 10:38
  Speaker 1: is the first video, the Absolute Degeneracy of modern writing
• 10:41
  Speaker 1: by the second story. I mean, do you think you
• 10:44
  Speaker 1: want to do this one because of the order you
• 10:45
  Speaker 1: sent them to me? So? Or do you under this
• 10:48
  Speaker 1: wheel of time thing?
• 10:50
  Speaker 2: Well, let's go into the wheel of time. It'll be
• 10:52
  Speaker 2: like a bit of a change of pace.
• 10:54
  Speaker 1: All right, So this is greg O when the wheel
• 10:57
  Speaker 1: of time failed because modern writers don't know people. Okay,
• 11:05
  Speaker 1: so let me just I got the time codes here,
• 11:07
  Speaker 1: so all right, let's start with the opening, because I
• 11:11
  Speaker 1: always start with the opening because then they're sort of like,
• 11:13
  Speaker 1: you know, setting the stage right.
• 11:15
  Speaker 5: So, hey, you know what makes a story great is people.
• 11:21
  Speaker 2: The people.
• 11:23
  Speaker 5: I know it's common to talk about people like hating
• 11:25
  Speaker 5: Hollywood and wokeness and such, but I know at this
• 11:28
  Speaker 5: point a lot of you aren't angry, really not anymore.
• 11:32
  Speaker 1: You're bored.
• 11:33
  Speaker 5: You're apathetic, like, oh, what's that a male feminist is
• 11:37
  Speaker 5: making a video game that subverts Christianity and the heroine
• 11:40
  Speaker 5: has a masculine look.
• 11:42
  Speaker 1: Yon.
• 11:43
  Speaker 5: More and more stories are not focused on characters who
• 11:46
  Speaker 5: behave like real people because the writers have never met
• 11:50
  Speaker 5: any They've only seen online avatars and tumbler fan forums.
• 11:54
  Speaker 5: So all this left, then is the plot, which leaves
• 11:57
  Speaker 5: you with and then stories this happened, and then this happens,
• 12:01
  Speaker 5: and then this happens.
• 12:04
  Speaker 2: Then Okay, yeah, that's uh so, because you don't have
• 12:17
  Speaker 2: an in depth character or an understanding of character to
• 12:22
  Speaker 2: be the hidden structure in your story. So the evolution
• 12:26
  Speaker 2: of your character or the revealing of your character as
• 12:29
  Speaker 2: the hidden structure. He's right that stories degenerate into if
• 12:33
  Speaker 2: and then so and what happened then, and instead of
• 12:38
  Speaker 2: presenting stakes and meaning, they just present the next twist,
• 12:43
  Speaker 2: what a twist, which also breaks down well into uh,
• 12:48
  Speaker 2: you know, shareable sound bites for our five second attention
• 12:52
  Speaker 2: span now and spectacle and big jump scare, surprise moments
• 12:59
  Speaker 2: and twists and but not twists that are really set
• 13:03
  Speaker 2: up very well, because usually the setup is, you know,
• 13:05
  Speaker 2: five minutes and then you have the twist and andy
• 13:10
  Speaker 2: and they really lean into a lot of oh, this
• 13:13
  Speaker 2: is a subversion of what you expect these characters to
• 13:16
  Speaker 2: be based in your like, well, yes, we already know
• 13:18
  Speaker 2: that you do these subversions. We are aware. All of
• 13:22
  Speaker 2: your subversions are not subversions. Now they are versions, reversions,
• 13:27
  Speaker 2: I don't know, they're they're anti subversions. They have reverted
• 13:33
  Speaker 2: the regressions.
• 13:34
  Speaker 1: Sorry, they're they're really predictable, so that I mean, that's
• 13:37
  Speaker 1: why they're not subversions, because we can see them coming
• 13:39
  Speaker 1: a mile away. Like that. We we didn't go through it.
• 13:42
  Speaker 1: But there's that new Apple Plus series called Savant or
• 13:46
  Speaker 1: The Savant about a woman who you know, during the
• 13:50
  Speaker 1: day she's a mother, but at night she goes on
• 13:52
  Speaker 1: the internet and like fights against extreme extremist content. I
• 13:58
  Speaker 1: guess like men, you know online, the patriarchy. I don't
• 14:03
  Speaker 1: know what it is, but yeah, I mean like I
• 14:09
  Speaker 1: don't know. I don't think that I don't. I don't
• 14:12
  Speaker 1: think the problem is people's distensions fans, because I think
• 14:17
  Speaker 1: that regular people still want to watch good movies. I mean,
• 14:21
  Speaker 1: for example, Jaws was re released recently on its fiftieth anniversary,
• 14:28
  Speaker 1: and it was number two in the box office, and
• 14:30
  Speaker 1: I wouldn't I wouldn't say Jaws is a movie that's
• 14:33
  Speaker 1: like and then, and then and then. In fact, if
• 14:37
  Speaker 1: you if you've never seen Jaws, or maybe you haven't
• 14:39
  Speaker 1: seen it in a while.
• 14:40
  Speaker 2: There's suspense.
• 14:42
  Speaker 1: There's a lot of suspense, and it's a very slow burn,
• 14:46
  Speaker 1: like there are moments where the shark comes but like
• 14:48
  Speaker 1: the Shark's not in the movie that much, and most
• 14:51
  Speaker 1: of it is the three men hunting the shark, and
• 14:54
  Speaker 1: they're just like bonding and stuff, right, they're getting to
• 14:58
  Speaker 1: know each other, like you have like the Captain's quint
• 15:00
  Speaker 1: and then you have like Rob Schneider's character, and then
• 15:03
  Speaker 1: you have you know, Richard Dreyfuss, and mainly those three
• 15:08
  Speaker 1: guys are the main the only people in the movie
• 15:10
  Speaker 1: for most of it, and then you see the sharks sometimes.
• 15:14
  Speaker 1: But it was number two in the box office, like
• 15:16
  Speaker 1: it was an and you well, some people say that's
• 15:17
  Speaker 1: because everything else is awful. I mean, yes, that's partly true,
• 15:21
  Speaker 1: but I think that it shows you that that movies
• 15:24
  Speaker 1: like Jaws or you know, good films that don't do
• 15:27
  Speaker 1: the end then and then and then thing people still
• 15:31
  Speaker 1: want that. So it's certainly not an issue of the audience.
• 15:35
  Speaker 1: It's an issue of the people who are telling the stories.
• 15:39
  Speaker 1: So I got to ask, how did they get this job?
• 15:42
  Speaker 1: And also, you know, going back to that earlier clip
• 15:44
  Speaker 1: of Neil Druckman, you know, bragging about his new like
• 15:49
  Speaker 1: his next woke video game project, Intergalactic, the Heretic Prophet,
• 15:54
  Speaker 1: which you know subverts Christianity and has a masculine looking
• 15:58
  Speaker 1: female character in it. I mean you could say that's
• 16:01
  Speaker 1: you know, like it's lazy, it's predictable, it's boring. But
• 16:04
  Speaker 1: but why aren't we asking the question? Why then does
• 16:08
  Speaker 1: he insist on doing it? Like, what is the motive
• 16:10
  Speaker 1: behind this content that clearly nobody wants? I mean, like,
• 16:15
  Speaker 1: I don't think nobody wants it. Why has this stuff existed? What?
• 16:19
  Speaker 1: In like we've been getting it still and people cope
• 16:22
  Speaker 1: around it. Like Concord was a game put up by
• 16:25
  Speaker 1: Sony and it was such a catastrophic failure because of
• 16:29
  Speaker 1: its horrendous art design that it had to shut down
• 16:34
  Speaker 1: after ten days. And like they had to shut down
• 16:38
  Speaker 1: this triple A project after ten days because no one
• 16:41
  Speaker 1: was playing it because of how ugly it was. And
• 16:43
  Speaker 1: the ugliness was on purpose on their part. They were like,
• 16:47
  Speaker 1: we need this to look a certain way because we
• 16:49
  Speaker 1: have to have representation, and it was just ugly. And
• 16:52
  Speaker 1: they're still like there are people at Sony saying, well,
• 16:55
  Speaker 1: this is a good thing that it failed, because they're
• 16:59
  Speaker 1: still coping around is what I'm saying. They're still making
• 17:02
  Speaker 1: excuses for it. You get to ask, like why what
• 17:05
  Speaker 1: is this about. I don't think it's about like trying
• 17:09
  Speaker 1: to produce a piece of art that people want at all.
• 17:12
  Speaker 1: I don't think it's about that. But anyway, sorry, I'm
• 17:15
  Speaker 1: I digressed a lot.
• 17:17
  Speaker 2: Yeah, well, it might also just be a fantasy of power,
• 17:21
  Speaker 2: fantasy around salvation for the male author, to be honest,
• 17:26
  Speaker 2: like that, I find, you know, there's this fantasy of
• 17:30
  Speaker 2: giving a woman everything and producing a world in which
• 17:36
  Speaker 2: she you know, it's like a fantasy world of perfection
• 17:39
  Speaker 2: or and I think that some male authors get sucked
• 17:43
  Speaker 2: into that. Then then they write like things like Ray,
• 17:47
  Speaker 2: where she just ridiculous, like the world bends over backwards
• 17:51
  Speaker 2: to make itself about her and to make her get
• 17:54
  Speaker 2: everything that she could possibly want and be seen as
• 17:57
  Speaker 2: a great hero. And it's it's almost like a like
• 18:00
  Speaker 2: Santa Claus syndrome.
• 18:02
  Speaker 1: Yeah. Like, well, Neil Druckman like personally knew Anita Sarcassian
• 18:08
  Speaker 1: and he did talk about how she, like how much
• 18:12
  Speaker 1: of an impact she had on him. So yeah, I
• 18:18
  Speaker 1: don't know what else to I don't think I have
• 18:20
  Speaker 1: to add anything else. You guys go from there, Okay, So.
• 18:26
  Speaker 2: Let's go to his main point maybe, yeah, yeah, yeah.
• 18:28
  Speaker 1: So for for.
• 18:35
  Speaker 2: I think it's like right here, okay, I'm looking forward to.
• 18:39
  Speaker 5: And aspirations of humans that live outside the l A stream.
• 18:44
  Speaker 5: I'll tell you about the show's failings, but.
• 18:46
  Speaker 2: A little bit before then, or for yeah, to just
• 18:51
  Speaker 2: start discover.
• 18:52
  Speaker 5: Why Amazon wanted to ride this name recognition and why
• 18:55
  Speaker 5: so many people love this series. When you read them,
• 18:59
  Speaker 5: you can tell Robert Jordan lived an actual life, He
• 19:03
  Speaker 5: met real people. He understood the concerns and challenges and
• 19:07
  Speaker 5: aspirations of humans that live outside the LA screenwriting bubble,
• 19:11
  Speaker 5: not for shows feelings. But also, I'm gonna tell.
• 19:13
  Speaker 1: You he's not the original writer of Wheel of Time.
• 19:17
  Speaker 2: Have you read Wheel of Wheel of Time? I, okay,
• 19:20
  Speaker 2: I'm gonna be really honest. I've I tried to read
• 19:23
  Speaker 2: Wheel of Time, and uh, like, I'm not a fan
• 19:28
  Speaker 2: of epic fantasy. So yeah, I'm not a fan of
• 19:31
  Speaker 2: epic fantasy. I I did not get through the first
• 19:34
  Speaker 2: chapter because I got really really tired of the young female,
• 19:38
  Speaker 2: the young sprightly female character talking to this person, then
• 19:43
  Speaker 2: talking to that person, then talking to another person. And
• 19:48
  Speaker 2: I don't know, it isn't for me, I can see
• 19:50
  Speaker 2: that it would be for you. Know it would, it
• 19:52
  Speaker 2: would hit its audience, and its audience would like it, right,
• 19:55
  Speaker 2: So I'm going to just be like, this guy is
• 19:58
  Speaker 2: a representation of the person of people who liked it.
• 20:01
  Speaker 2: I am not, So I'm not, and we're actually the
• 20:04
  Speaker 2: writer's retreat soon will be going over the TV show,
• 20:07
  Speaker 2: so I will be looking at it from a perspective
• 20:10
  Speaker 2: of someone who wasn't a fan of the original. So
• 20:14
  Speaker 2: I'm going to just take it from from what are
• 20:17
  Speaker 2: what are the merits of this story that's being presented
• 20:20
  Speaker 2: on the screen to me at this time, rather than
• 20:23
  Speaker 2: that it doesn't doesn't honor the source material, and I'm
• 20:26
  Speaker 2: guessing that it's the TV show is going to fail
• 20:29
  Speaker 2: massively to impress me, even though, again I'm not a
• 20:33
  Speaker 2: fan of the original. But I just wanted to say
• 20:36
  Speaker 2: that just to be clear to people.
• 20:37
  Speaker 1: Like your reasoning is your reasons for not being a
• 20:41
  Speaker 1: fan of are of the original books are probably different
• 20:44
  Speaker 1: from yes, issues with the show? Oh yeah, yeah, you're
• 20:48
  Speaker 1: not a fan of epic fantasy.
• 20:50
  Speaker 2: No oh so yeah?
• 20:54
  Speaker 1: What yeah?
• 20:54
  Speaker 2: Oh my god, no, I can't. I can't handle the
• 20:58
  Speaker 2: level of stuff that is put into epic fantasy, like
• 21:05
  Speaker 2: it just it feels like there's so much stuff between
• 21:08
  Speaker 2: you and the story. And I know it's because people
• 21:11
  Speaker 2: who like epic fantasy want to immerse themselves in the
• 21:14
  Speaker 2: world and the cultures and everything else, because epic fantasy
• 21:19
  Speaker 2: is almost like an imagined travel log, if you will.
• 21:23
  Speaker 2: And I also don't like reading travelogs. I like going
• 21:27
  Speaker 2: to places, but I don't like reading about going to places,
• 21:30
  Speaker 2: So if so, dumping me in a story where there's
• 21:35
  Speaker 2: a lot a lot of world building is not something
• 21:39
  Speaker 2: that's really going to resonate with me. I don't mind
• 21:42
  Speaker 2: some but just like I don't really like a heck
• 21:45
  Speaker 2: of a lot of lore either, you know, I don't
• 21:47
  Speaker 2: necessarily like a lot of world buildings. So epic fantasy
• 21:50
  Speaker 2: is not my thing. But that's why I don't like it.
• 21:52
  Speaker 2: And I know that about myself. And I'm not going
• 21:54
  Speaker 2: to say that the Wheel of Time series is bad
• 21:56
  Speaker 2: because it doesn't appeal specifically to me. But what yeah, so,
• 22:00
  Speaker 2: but yes, it's going to be a completely different there's
• 22:03
  Speaker 2: gonna when we go over the Wheel of Time series.
• 22:07
  Speaker 2: I will have issues with the TV show, no doubt,
• 22:11
  Speaker 2: but it won't be coming from the position of someone
• 22:14
  Speaker 2: who was really enamored of the original work. Honestly, I can't.
• 22:19
  Speaker 2: I also don't like George R. R. Martin's work either. I've
• 22:22
  Speaker 2: read more of it, and I think, I think ultimately
• 22:26
  Speaker 2: it's just I don't like epic fantasy. Although George there
• 22:30
  Speaker 2: were there were things in Martin's work that I specifically
• 22:34
  Speaker 2: didn't like that wasn't related to the epic fantasy of it.
• 22:38
  Speaker 2: But then there's also like, you know what, let's get
• 22:42
  Speaker 2: let's move on.
• 22:42
  Speaker 1: It's going too far in I was just getting no,
• 22:45
  Speaker 1: it's okay, I get it, I get it. I never
• 22:47
  Speaker 1: watched Wheel of Time, I never read it. It's just
• 22:50
  Speaker 1: not and I just assume when they when I saw
• 22:52
  Speaker 1: they were adapting it, I was like, yeah, this is
• 22:54
  Speaker 1: going to be like a you know, like basically another
• 22:58
  Speaker 1: way for a feminists to like trumpet their beliefs and
• 23:01
  Speaker 1: not knowing what the books were based on. But according
• 23:04
  Speaker 1: to Greg Owen here, he says that it's it wasn't
• 23:08
  Speaker 1: like a female power fantasy. It was like it was
• 23:11
  Speaker 1: a pretty good balance, that's what he said. It was
• 23:13
  Speaker 1: appealing to men and women. Yeah originally, yeah, yeah, I
• 23:19
  Speaker 1: wasn't written for one audience or the other.
• 23:21
  Speaker 2: It was just personally, I didn't really enjoy it that much.
• 23:26
  Speaker 2: But on that level, but I'm coming from I have
• 23:29
  Speaker 2: a I am a woman of culture when it comes
• 23:32
  Speaker 2: to representation of the sex and gender and fiction. So yeah,
• 23:37
  Speaker 2: there's very little that appeals to me on that score.
• 23:40
  Speaker 2: I'll just put it that way, all right.
• 23:43
  Speaker 5: Well, anyway, let's keep going why his characters feel real
• 23:47
  Speaker 5: and his series contains themes and ideas that touch us.
• 23:52
  Speaker 1: Just like I need you to touch that like button.
• 23:56
  Speaker 2: Uh well, I guess we could. Everybody touched are like button?
• 24:01
  Speaker 1: Yeah new cup.
• 24:01
  Speaker 5: My kids were a hobby lobby, bacon and eggs. Super cool,
• 24:04
  Speaker 5: But I got that was one of the biggest themes.
• 24:06
  Speaker 1: I guess really quick.
• 24:09
  Speaker 2: So okay, yes, this is very nice. This autistic is
• 24:15
  Speaker 2: more popular now, huh Like super turbo autism in your
• 24:21
  Speaker 2: in your in your YouTube videos is more popular now,
• 24:25
  Speaker 2: is it? I guess awkwardness. I don't know.
• 24:30
  Speaker 1: We have a billion subs.
• 24:31
  Speaker 2: Yeah, exactly, like we're Autism Central where the episodes are
• 24:37
  Speaker 2: ground zero for.
• 24:40
  Speaker 1: Takes. Okay, let's let's keep going with this guy. Now.
• 24:45
  Speaker 5: A good majority of this video is going to be
• 24:47
  Speaker 5: about how the show failed at gender dynamics, because that
• 24:50
  Speaker 5: was one of the biggest themes in the books. But first,
• 24:53
  Speaker 5: let's hit some smaller topics that likely put viewers off
• 24:56
  Speaker 5: a little bit, and hopefully you're going to see how
• 24:58
  Speaker 5: these little problems add up to an audience that simply
• 25:02
  Speaker 5: is not invested.
• 25:04
  Speaker 1: Now. So the show, by the way, I looked it
• 25:06
  Speaker 1: up really quick. The show is on its third it's
• 25:08
  Speaker 1: on its fourth season, so it was running for a
• 25:11
  Speaker 1: while despite all of these failings, which I think were
• 25:16
  Speaker 1: there from the beginning. There were people who were big
• 25:19
  Speaker 1: fans of the books, and they were like, I'm going
• 25:22
  Speaker 1: to stick it out. I'm going to stick it out,
• 25:24
  Speaker 1: and they just kept thinking out. And I remember hearing
• 25:26
  Speaker 1: about Wheel of Time from my friends a long time ago,
• 25:30
  Speaker 1: like they were like, oh man, they got adapt at all.
• 25:33
  Speaker 1: I'd love them to adapt that. And I guess the
• 25:36
  Speaker 1: people of that generation that were excited for that adaptation
• 25:40
  Speaker 1: have grown up and some of them have done this adaptation.
• 25:44
  Speaker 1: Not my friends, but like people of that same you know,
• 25:47
  Speaker 1: audience size. So this is the adaptation they were waiting for.
• 25:52
  Speaker 1: And I'm I used to be a guy that was
• 25:53
  Speaker 1: always like getting excited for adaptations and things I like
• 25:56
  Speaker 1: now I'm like, please, don't touch it, just leave it.
• 26:01
  Speaker 1: I like it as it was in my memories, you know.
• 26:04
  Speaker 5: Yeah, it's important to reiterate how much most viewers do
• 26:08
  Speaker 5: not care about the added eroticism in the show, and
• 26:11
  Speaker 5: exponentially more for the homo eroticism. A key concept that
• 26:15
  Speaker 5: pushers of this kind of stuff do not understand is
• 26:18
  Speaker 5: that does not care is not the same as hates,
• 26:22
  Speaker 5: and it's also different from does not mind?
• 26:26
  Speaker 2: All right, did I call this?
• 26:30
  Speaker 1: Yeah?
• 26:31
  Speaker 2: All right? So what you are misunderstanding about all of
• 26:35
  Speaker 2: this is that this show is not aimed for men. Okay,
• 26:40
  Speaker 2: They've taken away anything that could be considered entertainment for men,
• 26:45
  Speaker 2: anything that could be considered something that men would want
• 26:47
  Speaker 2: to invest in in terms of a story, and they
• 26:51
  Speaker 2: are turning it specifically to an audience of women. And
• 26:55
  Speaker 2: I would argue a sub audience of women, because women
• 26:59
  Speaker 2: like me, even though epic fantasy isn't my thing. But
• 27:02
  Speaker 2: I know other women who like epic fantasy, and they
• 27:06
  Speaker 2: probably also wouldn't like this kind of adaptation. A specific
• 27:10
  Speaker 2: group of tumbler brained women, that's what they're aiming towards.
• 27:16
  Speaker 2: And so they're trying to inch it towards romanticy, that's
• 27:22
  Speaker 2: what they're doing. So expect everything that would appeal to
• 27:26
  Speaker 2: you as a male reader to disappear for the most part,
• 27:30
  Speaker 2: and be replaced by everything that would appeal to the
• 27:35
  Speaker 2: average female romanticy and nobody has this question like, should
• 27:40
  Speaker 2: we be turning this into porn for women? Okay, now,
• 27:46
  Speaker 2: in some ways Game of Thrones sort of set the
• 27:52
  Speaker 2: stage for this, but I think that at the very
• 27:56
  Speaker 2: least the sexuality and Game of Thrones I found it
• 28:00
  Speaker 2: really off putting. But it's not just aimed for female
• 28:04
  Speaker 2: romanticy readers. It has something that's doing something with the plot.
• 28:09
  Speaker 2: I mean, I think we could have used less of it,
• 28:12
  Speaker 2: but whatever. Having watched The House of Dragging On, I
• 28:17
  Speaker 2: actually it's actually made Game of Thrones a lot more watchable,
• 28:23
  Speaker 2: simply because there's so much what the fuck is going
• 28:28
  Speaker 2: on in Game of Thrones, whereas in House of Dragging
• 28:30
  Speaker 2: On it is so dreary and nothing happens except people
• 28:35
  Speaker 2: women moping over the consequences of decisions that they're making
• 28:40
  Speaker 2: and then blaming everyone else for them. But regardless, so
• 28:45
  Speaker 2: I think Game of Thrones can be blamed a little
• 28:47
  Speaker 2: bit for this, but Game of Thrones sexuality wasn't specifically
• 28:52
  Speaker 2: aimed at the romanticy market. This is so if something
• 28:57
  Speaker 2: gets adapted in the modern era, have to think of
• 29:00
  Speaker 2: it less of a genuine adaptation and more of a
• 29:05
  Speaker 2: fan thick re envisioning of the source material. And I
• 29:12
  Speaker 2: think that, Uh, the problem is that fans of the original,
• 29:17
  Speaker 2: like the book a World, Wheel of Time, don't realize
• 29:21
  Speaker 2: that they aren't the target audience here. They're using name recognition,
• 29:25
  Speaker 2: they're using story elements, and they are creating a erotic
• 29:31
  Speaker 2: version and they do this. They did this in port
• 29:33
  Speaker 2: you know how you'd have like Pirates of the Caribbean
• 29:37
  Speaker 2: and then you would have the porn version. Yeah, and
• 29:44
  Speaker 2: this is essentially what this is. This is there's the
• 29:48
  Speaker 2: Wheel of Time books and then there's the porn version
• 29:52
  Speaker 2: of Wheel of Time and that's what they're putting on
• 29:54
  Speaker 2: TV and it is aimed for women. And they think
• 29:57
  Speaker 2: that this is a legitimate adaptation because nobody says, should
• 30:01
  Speaker 2: we really be injecting women's porn into an existing ip
• 30:06
  Speaker 2: and then calling it that thing? Yeah, what I'm saying, Yeah,
• 30:14
  Speaker 2: it's just like it's like a it's like the you know,
• 30:16
  Speaker 2: the Scooby Doo Gang, and and and they find out
• 30:20
  Speaker 2: the culprit and then they unmasked but culprit and it's
• 30:24
  Speaker 2: like this thing is wearing the mask of Wheel and
• 30:27
  Speaker 2: Time and if you take it off, it's some woman shlicking.
• 30:31
  Speaker 1: Yep, it's just porn.
• 30:32
  Speaker 2: It's just porn.
• 30:33
  Speaker 1: It's just porn for women. And that yeah, I mean that.
• 30:37
  Speaker 1: When I heard that, I was like, I don't think because, like,
• 30:39
  Speaker 1: you know, like I was mentioning like people I knew
• 30:42
  Speaker 1: that Red Wheel of Time. They they didn't talk about
• 30:46
  Speaker 1: it in the context of it having sex in it
• 30:48
  Speaker 1: at all. It was just like this epic fantasy and
• 30:52
  Speaker 1: there was a lot of magic and stuff, and that's
• 30:54
  Speaker 1: what they thought was cool about it. It wasn't like, you know,
• 30:56
  Speaker 1: I mean, it's but this is the thing we just
• 31:00
  Speaker 1: don't understand. Why don't we want to admit that women
• 31:03
  Speaker 1: have the horny really bad too. They might even have
• 31:06
  Speaker 1: it worse now than men. Like, why can't we just
• 31:09
  Speaker 1: admit that and then just be like, Okay, so this
• 31:11
  Speaker 1: is porn and it's on you know, Amazon Prime.
• 31:15
  Speaker 2: We can then you'd have to admit that women's sexuality
• 31:21
  Speaker 2: doesn't belong everywhere.
• 31:22
  Speaker 1: Yeah, exactly, it doesn't doesn't.
• 31:25
  Speaker 2: It doesn't need to ring a slug trail over every
• 31:29
  Speaker 2: single exploitable ip in existence. Yeah, everything has to glisten
• 31:35
  Speaker 2: with with somebody's juices and freaking crust, you know, like
• 31:40
  Speaker 2: we can contain that to the bedroom so that we
• 31:43
  Speaker 2: aren't just sliding around.
• 31:46
  Speaker 1: Yeah, but you but that sounds like you're silencing women though, Yeah, exactly,
• 31:50
  Speaker 1: try to press them. That's that's the Handmaid's.
• 31:53
  Speaker 2: Tail, exactly everything. If you don't let women's sexuality go
• 31:57
  Speaker 2: everywhere and coat everything, then you are silencing them. Meanwhile, meanwhile,
• 32:06
  Speaker 2: men can't even have their non sexual like because Wheel
• 32:10
  Speaker 2: of Time was about a story, you know, it was
• 32:13
  Speaker 2: about presenting philosophies, presenting characters, presenting interactions and plots that
• 32:18
  Speaker 2: were interesting in conjundrums and all of that. It's platonic fantasy.
• 32:23
  Speaker 2: Men can't even have that anymore because if they don't
• 32:26
  Speaker 2: allow women's sexuality in, they're silencing women. So if you
• 32:31
  Speaker 2: don't say yes women every aspect of women's sexuality, you
• 32:37
  Speaker 2: are turning them into the Handmaiden's tale. Like it's it's
• 32:44
  Speaker 2: like it's insane. It is a war on women on men. Sorry,
• 32:48
  Speaker 2: it is a war on men because it's it's because
• 32:51
  Speaker 2: I hear war on women constantly, so that's why I
• 32:53
  Speaker 2: made the mistake. It is a war on men's ability
• 32:57
  Speaker 2: to say no.
• 33:01
  Speaker 5: Yes, okay, does not care is pure indifference, Like how
• 33:08
  Speaker 5: I do not care about soccer or football or whatever.
• 33:11
  Speaker 5: For you international folks, I am one hundred percent neutrally uninterested,
• 33:16
  Speaker 5: neither good nor bad. But if I'm looking to spend
• 33:19
  Speaker 5: my free time and an entertainment product heavily features this
• 33:24
  Speaker 5: sport with no hard feelings, I'm just probably gonna find
• 33:26
  Speaker 5: something else unless it has some other massive draw like
• 33:31
  Speaker 5: ted Lasso, which you absolutely should be watching.
• 33:33
  Speaker 1: Obviously we're bombed out that O'Brien Torres, but I'm gonna
• 33:37
  Speaker 1: move up next thing.
• 33:40
  Speaker 2: Okay, building, that's fine, but you're not the audience this,
• 33:45
  Speaker 2: let's be honest.
• 33:46
  Speaker 1: No, but what you see what he's doing there is
• 33:49
  Speaker 1: he's basically saying, I'm about to criticize the thing, and
• 33:52
  Speaker 1: I don't want you guys to think that I hate
• 33:54
  Speaker 1: you know, like that I hate women. Well, it's basically
• 33:59
  Speaker 1: like trying to cover his bases before he makes his argument,
• 34:03
  Speaker 1: you know, just a typical normy response to this kind
• 34:07
  Speaker 1: of like because like basically, anytime current modern storytelling is criticized,
• 34:13
  Speaker 1: then the people, you know, like the cathedral, the media,
• 34:18
  Speaker 1: the people who create the show, the people who are fans,
• 34:20
  Speaker 1: the activists, whatever, they circle the wagons. They come after you.
• 34:25
  Speaker 1: They call you a bigot, they call you this or that.
• 34:27
  Speaker 1: And he's trying to protect himself. Oh you sweet summer child,
• 34:31
  Speaker 1: you're wasting your time. But that's what he's trying to do.
• 34:34
  Speaker 2: So yeah, okay, so no, I agree he is. But
• 34:39
  Speaker 2: you know, you can hate this stuff. I'm somebody who's
• 34:43
  Speaker 2: you know, I have read dark romance, romance, I read
• 34:46
  Speaker 2: romance in the past. I haven't read any of that
• 34:51
  Speaker 2: recently because it's just, yeah, there's there's too much of it.
• 34:56
  Speaker 2: It's just everywhere, and it's pointless, like it's just just
• 35:02
  Speaker 2: added in in order to appeal to a specific horny demographic.
• 35:06
  Speaker 2: And it's like the the fan service is now making
• 35:09
  Speaker 2: everything fall apart, right, It's like it's at the expensive character,
• 35:14
  Speaker 2: it's at the expense of of plot, it's at the
• 35:18
  Speaker 2: expense of everything, and it's just exhausting. Now, I guess
• 35:25
  Speaker 2: you could make the argument that that anime has a
• 35:27
  Speaker 2: lot of fan service for men in it, although they're
• 35:31
  Speaker 2: there's fan service for women too.
• 35:34
  Speaker 1: Well that's true. But the thing is is that like
• 35:37
  Speaker 1: a lot of the anime that's like heavily fan service
• 35:40
  Speaker 1: or etchy or like borderline, it gets criticized. Like there
• 35:44
  Speaker 1: are people who say, you know, I like they'll be like,
• 35:47
  Speaker 1: I can't watch this show because it seems to be
• 35:49
  Speaker 1: nothing but fan service. Maybe maybe it'll moves away from
• 35:52
  Speaker 1: whatever it was when it first came out, like maybe
• 35:54
  Speaker 1: when it started it wasn't that, and then over time
• 35:57
  Speaker 1: it falls into that trap. You know, I'm sure there's
• 36:00
  Speaker 1: plenty of examples. I don't watch that much anime at all,
• 36:04
  Speaker 1: but I'm sure that there are examples. But the point is, though,
• 36:07
  Speaker 1: if you criticize anime for that, you're not gonna get
• 36:11
  Speaker 1: like a massive you know, like you're not going to
• 36:13
  Speaker 1: get labeled a bigot and people going through your social media.
• 36:15
  Speaker 1: So if they get you fired, like that's not gonna happen.
• 36:18
  Speaker 1: Some people might complain because you're complaining about their stuff,
• 36:20
  Speaker 1: but like so what.
• 36:22
  Speaker 2: You know, Yeah, and you're right, because there's there's there
• 36:25
  Speaker 2: is a pathway, there's an expected dialogue around controlling men's sexuality,
• 36:33
  Speaker 2: let's face it, and critiquing it, and that that that
• 36:38
  Speaker 2: dialogue is that that does not happen anywhere except maybe here.
• 36:42
  Speaker 1: Yeah, anime is a pretty tame.
• 36:46
  Speaker 2: Compared to what women Oh yeah, oh yeah, it's it's
• 36:49
  Speaker 2: it is tame.
• 36:50
  Speaker 1: Yeah, it's pretty tame, like oh, panties, you know. And
• 36:53
  Speaker 1: that's getting to the point now where people are pretty
• 36:55
  Speaker 1: desensitized to it. And anyway, so m hm, but anyway,
• 36:59
  Speaker 1: uh yeah, so let's uh, let's move on to the
• 37:02
  Speaker 1: next thing. Here we go.
• 37:04
  Speaker 5: It's pretty much ending, I.
• 37:06
  Speaker 2: Said the.
• 37:09
  Speaker 1: Back on a little stry.
• 37:10
  Speaker 5: In one episode the season, Rand is viewing memories from
• 37:13
  Speaker 5: his ancestors, his direct bloodline. He sees multiple visions going
• 37:18
  Speaker 5: all the way back to a time when one of
• 37:19
  Speaker 5: his forefathers set out to protect some artifacts because the
• 37:22
  Speaker 5: world was pretty much ending.
• 37:24
  Speaker 6: I said the teenies, is this Rand, Now, did you
• 37:32
  Speaker 6: notice something that might cause a problem for the ancestral memory?
• 37:38
  Speaker 2: Uh? The gay contact? What Rand was not gay in? They?
• 37:42
  Speaker 1: Oh?
• 37:42
  Speaker 2: Fuck it? Never mind? What am I even bothering with
• 37:44
  Speaker 2: with that?
• 37:45
  Speaker 1: Okay, but but Alison, the women want to see them
• 37:49
  Speaker 1: be gay. Women like to see heterosexual sexy stuff, lesbian
• 37:56
  Speaker 1: sexy stuff, and gay sexy stuff. Men don't really work
• 38:00
  Speaker 1: that way. We're pretty much like I don't know, maybe
• 38:04
  Speaker 1: we're just boring. All right, I got a superchow? Do
• 38:08
  Speaker 1: you want me to read it? Or do you want to?
• 38:10
  Speaker 2: All right?
• 38:12
  Speaker 1: Anonymous thank you gives us ten dollars for a superchow
• 38:15
  Speaker 1: and says Danny Sully. Kowski is making the rounds on
• 38:19
  Speaker 1: podcasts recently talking about feminism and female reproductive suppression. Very
• 38:24
  Speaker 1: interesting that she pointed out that men are simply the
• 38:28
  Speaker 1: unlucky and indirect target of feminism. Basically that feminism is
• 38:31
  Speaker 1: not an attack on men, but instead they are disposable
• 38:35
  Speaker 1: and convenient tools used to attack other women. Makes so
• 38:39
  Speaker 1: much sense now why Karen claims she is not an
• 38:41
  Speaker 1: MRA but an anti feminist. It got me thinking further.
• 38:45
  Speaker 1: Is Alison pro male? Pro is Allison's pro male beliefs
• 38:49
  Speaker 1: just another tool to attack her enemies, which are feminists
• 38:52
  Speaker 1: persuading women not to reproduce. I would love to see
• 38:55
  Speaker 1: Alison start interviewing guests, even though Brian is doing an
• 38:59
  Speaker 1: awesome job all ready. It would be refreshing content to
• 39:02
  Speaker 1: see live any civil challenges uh to her opinions, I
• 39:07
  Speaker 1: nominate Danny Silkowski or Andrew Wilson to the pilot of
• 39:11
  Speaker 1: Coffee Time with Alison Thankyous'.
• 39:15
  Speaker 2: You can nominate as much as you want. But I
• 39:17
  Speaker 2: don't think that. I mean, I don't want to say
• 39:19
  Speaker 2: it won't happen, but you know that there's I don't
• 39:24
  Speaker 2: think that. Uh. For whatever reason, I don't think like,
• 39:29
  Speaker 2: I don't think that's going to happen, but I mean
• 39:31
  Speaker 2: I can, I can talk about it.
• 39:33
  Speaker 1: Uh.
• 39:33
  Speaker 2: My pro male beliefs are mostly because I like men.
• 39:38
  Speaker 2: They got. Honestly, what I started in this, I did,
• 39:42
  Speaker 2: like if you want an understanding of where I'm coming from.
• 39:45
  Speaker 2: When I started on this, well, first of all, my
• 39:49
  Speaker 2: mother gave me the first book, the first vaguely anti
• 39:54
  Speaker 2: feminist book that I ever had, and that sort of
• 39:55
  Speaker 2: started me on the path. But one of my big
• 39:58
  Speaker 2: concerns was male victim of sexual assault and domestic violence
• 40:02
  Speaker 2: and advocacy for them. And when I started, I thought
• 40:05
  Speaker 2: that feminists were simply misinformed or ignorant about the issues.
• 40:11
  Speaker 2: And then as I attempted to inform them, I became
• 40:16
  Speaker 2: more and more aware that this isn't ignorance. It's active
• 40:20
  Speaker 2: malice towards male victims of sexual assault and domestic violence.
• 40:24
  Speaker 2: There's active discrimination against them. They're very aware, and many
• 40:28
  Speaker 2: of them are very aware of the actual scope. Like
• 40:31
  Speaker 2: Mary Coss knows the scope of how many men will
• 40:35
  Speaker 2: report forced sex in surveys. That's why she has made
• 40:40
  Speaker 2: it a point to go in and manipulate the phrasing
• 40:43
  Speaker 2: in such a way to make that not obvious. And
• 40:47
  Speaker 2: so when I started, I was like, Oh, I'm just
• 40:50
  Speaker 2: going to inform people of these issues. And now I'm
• 40:53
  Speaker 2: at the point where it's obvious to me that if
• 40:56
  Speaker 2: we want to see full recognition of male victims of
• 40:59
  Speaker 2: sexual assault and domestic violence, feminism can't exist in a
• 41:02
  Speaker 2: world where that happens, because they are using these narratives
• 41:08
  Speaker 2: that men use sexual violence and domestic sexual and domestic
• 41:13
  Speaker 2: violence to uphold patriarchy. And the biggest counter the biggest
• 41:19
  Speaker 2: counter evidence to that is the sheer scope of sexual
• 41:22
  Speaker 2: abuse of men and boys and physical abuse of men
• 41:25
  Speaker 2: and boys by women. So they're never going to acknowledge it,
• 41:29
  Speaker 2: they're never going to support services for these things. In fact,
• 41:32
  Speaker 2: in the UK, they lump statistics around sexual and domestic
• 41:36
  Speaker 2: abuse of boys and men into statistics on women. So
• 41:40
  Speaker 2: they use men to increase the overall prevalence and give
• 41:43
  Speaker 2: them zero services. So this is the act of this
• 41:46
  Speaker 2: is at this point I am fully able to say
• 41:50
  Speaker 2: that these are bad actors. But I never conceived of
• 41:54
  Speaker 2: my advocacy for male victims of sexual assault in domestic
• 41:57
  Speaker 2: violence as a tool to harm feminists. I never originally
• 42:04
  Speaker 2: conceived of it. It took a long time before I
• 42:07
  Speaker 2: realized that feminism has put itself in the way of
• 42:12
  Speaker 2: that advocacy. Therefore feminism has to go. So it's not
• 42:19
  Speaker 2: really like I never really started from the position of
• 42:22
  Speaker 2: fighting feminists. I started from the position of advocating specific issues.
• 42:27
  Speaker 2: And while that was like the issue that really concerns me,
• 42:32
  Speaker 2: I still also, you know, false accusation, loss of parental rights,
• 42:38
  Speaker 2: discrimination in schools, and all of the other stuff that
• 42:41
  Speaker 2: comes out of it is a concern for me. But
• 42:44
  Speaker 2: like I said, I didn't start by saying, Okay, I'm
• 42:46
  Speaker 2: going to be anti feminists. I started by saying I
• 42:49
  Speaker 2: want these issues addressed, and then it became abundantly apparent
• 42:53
  Speaker 2: to me that the only way that these issues are
• 42:55
  Speaker 2: going to be addressed is if feminism ceases to have
• 42:58
  Speaker 2: the sway that it does over these institutions, or at
• 43:01
  Speaker 2: least there is a space where people who can build
• 43:04
  Speaker 2: these services can operate outside of the feminist framework, so
• 43:10
  Speaker 2: that that is that's where I came from. So I
• 43:14
  Speaker 2: don't know if I is there like an element of
• 43:18
  Speaker 2: intersectional I think I'm too dumb for really to understand
• 43:22
  Speaker 2: and to that level intersectional competition between women, I'm not
• 43:26
  Speaker 2: really good at it that that well. I mean, I
• 43:30
  Speaker 2: have sort of developed these skills simply by rote dealing
• 43:35
  Speaker 2: with these women online, but they were never something that
• 43:40
  Speaker 2: I come to me naturally. And I'm in terms of
• 43:46
  Speaker 2: competing against women who who who don't want to reproduce. Honestly,
• 43:52
  Speaker 2: that's not my focus either. Again, it's mostly on advocating
• 43:56
  Speaker 2: for men's issues. I just noticed that the fact that
• 43:59
  Speaker 2: our society has gone over the feminist cliff, refused men's
• 44:04
  Speaker 2: issues in order to support feminist ideology is resulting in
• 44:10
  Speaker 2: a complete freefall of the birthright. And so I bring
• 44:14
  Speaker 2: that up as a way of explaining the consequences of
• 44:18
  Speaker 2: ignoring the issues that we bring up more than actual
• 44:23
  Speaker 2: advocacy against women who do that. I'm sorry I'm not.
• 44:27
  Speaker 2: I'm I am. I am a thoroughbred pro male rights person.
• 44:36
  Speaker 2: I'm always going to focus on that. I'm always going
• 44:38
  Speaker 2: to look at things through that lens, and nobody can
• 44:43
  Speaker 2: stop me. So I hope that answers your question. If
• 44:45
  Speaker 2: you have any further questions, you can also pop into
• 44:48
  Speaker 2: like the vertical Chat and ask for any clarification. Okay, well,
• 44:53
  Speaker 2: and they'll try to stop me, but I'll keep doing
• 44:56
  Speaker 2: it until they cut my tongue out.
• 44:59
  Speaker 1: And yeah. So again, I don't have a lot of
• 45:04
  Speaker 1: context because I didn't watch the show, I didn't read
• 45:06
  Speaker 1: the books. But apparently they made this guy gay or
• 45:10
  Speaker 1: an ancestor of his gay, and I think it was
• 45:13
  Speaker 1: just to scratch a niche that women watch the show had.
• 45:18
  Speaker 1: I mean, that's the only reason. So let's see what
• 45:21
  Speaker 1: else is.
• 45:22
  Speaker 5: Wrong here these concept it's just more of what the
• 45:26
  Speaker 5: viewer doesn't care about on top of being a head
• 45:29
  Speaker 5: scratching story problem. But it continues with the casting.
• 45:36
  Speaker 2: Sisters.
• 45:38
  Speaker 1: This week we lost Mabith Giant again.
• 45:41
  Speaker 5: Story problem because we're working with a magic system that
• 45:44
  Speaker 5: has distinct male and female has. But beyond that, it's
• 45:47
  Speaker 5: another immersion breaking reminder to the viewer that this is
• 45:50
  Speaker 5: a show made by people who want to impose what
• 45:53
  Speaker 5: they wish the current world look like, instead of fleshing
• 45:56
  Speaker 5: out this fantasy world for their entertainment.
• 45:59
  Speaker 1: They do so, I guess in the in the setting
• 46:03
  Speaker 1: the men and women, I think when the men and
• 46:05
  Speaker 1: women have different proclivities in magic, like the magic is
• 46:11
  Speaker 1: like it inherited and it's it's it's gotta there's a
• 46:14
  Speaker 1: sex component to it, So the women's magic works differently
• 46:17
  Speaker 1: in some way I don't really know. And the scene
• 46:19
  Speaker 1: showed a trans women and so he's like, how does
• 46:22
  Speaker 1: that work? Because that you know the book, there was
• 46:25
  Speaker 1: no trans woman in the book obviously. I mean if
• 46:28
  Speaker 1: there was, then they probably worked something out. But like
• 46:30
  Speaker 1: that that whole thing is like a giant monkey wrench
• 46:34
  Speaker 1: in the the lore, I guess, right, because the.
• 46:40
  Speaker 2: Magic system is based on your biological sex, so your chromosome, right,
• 46:45
  Speaker 2: And I mean you could probably explore something interesting with
• 46:48
  Speaker 2: with a trans woman who does men's magic or is
• 46:52
  Speaker 2: subject to the restrictions that men are or whatever else.
• 46:57
  Speaker 1: Yeah, I don't know, it's just but like I guess
• 47:02
  Speaker 1: you could. But if that wasn't in the book, and
• 47:04
  Speaker 1: the people watching the show, want the book? Yeah, you know,
• 47:08
  Speaker 1: that's that's that's all.
• 47:09
  Speaker 2: I'm looking at this from a neutral how to improve
• 47:11
  Speaker 2: the actual storytelling without without looking at the com like, Okay,
• 47:17
  Speaker 2: I can look at this from this is not in
• 47:19
  Speaker 2: the lore, this is not in the book, keep it out.
• 47:22
  Speaker 2: You can also look at it from if you want
• 47:25
  Speaker 2: to do this, how do you implement it in a
• 47:28
  Speaker 2: way that is actually compelling. So I'm not saying that
• 47:31
  Speaker 2: it's legitimate from point of view one, No.
• 47:34
  Speaker 1: I understand, but I mean, like, obviously they just crammed
• 47:36
  Speaker 1: it in there, and obviously I didn't even think about
• 47:39
  Speaker 1: life that they They either they're stupid or they think
• 47:44
  Speaker 1: the audience is stupid and they're just gonna like let
• 47:46
  Speaker 1: that go, and no one's gonna say anything, and they
• 47:48
  Speaker 1: almost get dared to saying something. I dare you to
• 47:50
  Speaker 1: say something about this, right, But okay, let's let's keep going.
• 47:54
  Speaker 2: Well, before we continue, let me let me point something out.
• 48:00
  Speaker 2: I think that even more than the woke elements and
• 48:04
  Speaker 2: maybe this isn't like a woke fundamental mindset or the
• 48:08
  Speaker 2: social justice warrior elements or whatever the name keeps changing,
• 48:11
  Speaker 2: I don't like that. But even more than that. This
• 48:17
  Speaker 2: represents a complete disrespect to the audience. Yeah, and that's
• 48:24
  Speaker 2: actually what really aggravates me, because the thing is, if
• 48:27
  Speaker 2: you watch any older films, you will see diverse characters.
• 48:31
  Speaker 2: You'll sometimes see actual trans women and trans men characters,
• 48:36
  Speaker 2: or gender fluidity or like some like it hot and
• 48:39
  Speaker 2: other stuff like that. You will see this stuff, but
• 48:43
  Speaker 2: it is written in a way that makes the stories compelling.
• 48:46
  Speaker 2: It still respects the audience. And there was a Hollywood
• 48:49
  Speaker 2: at some point that respected the audience, the audience's time
• 48:53
  Speaker 2: and their investment in the story. And to me, that
• 48:56
  Speaker 2: is the worst part of all of this is that
• 49:00
  Speaker 2: these people have reversed the expectation of respect. As a storyteller,
• 49:07
  Speaker 2: you're there to earn the respect of your audience. Your
• 49:10
  Speaker 2: audience doesn't have to earn your respect by tolerating whatever
• 49:15
  Speaker 2: slop you put in front of them. And that, to
• 49:18
  Speaker 2: me is like the real fundamental problem with all of this.
• 49:23
  Speaker 2: I mean, I don't know if I offend people by
• 49:25
  Speaker 2: saying that, but that, to me is what's wrong. To me,
• 49:29
  Speaker 2: the lack of seeing yourself as having to earn the
• 49:32
  Speaker 2: respect of your audience, the lack of seeing yourself as
• 49:36
  Speaker 2: having to earn the skills to develop that merit as
• 49:40
  Speaker 2: a storyteller. That's what really aggravates me, and honestly, to me,
• 49:46
  Speaker 2: the real problem with the people that write this is
• 49:48
  Speaker 2: that they are lazy and entitled and they think they're
• 49:52
  Speaker 2: owed an audience.
• 49:57
  Speaker 5: All right, the people in the audience care about Oh,
• 50:02
  Speaker 5: real quick, because I'm gonna get some comments. Just want
• 50:04
  Speaker 5: to head off the rebuttals from anybody that's gonna want
• 50:06
  Speaker 5: to say that, well, the books had transgenders, and they're
• 50:08
  Speaker 5: gonna bring up Aaron gar I just want you to
• 50:11
  Speaker 5: please take a minute consider the implications of using the
• 50:15
  Speaker 5: example of one of the villains, a highly lustful man
• 50:20
  Speaker 5: who was reincarnated into a woman's body as an ironic
• 50:24
  Speaker 5: punishment by Satan. Do you want to use that now
• 50:29
  Speaker 5: that apathy and discant.
• 50:30
  Speaker 1: There's an example of an inn world like because if
• 50:34
  Speaker 1: the magic, if magic exists, then maybe the concept of
• 50:41
  Speaker 1: transgenderism itself is affected by magic. Because if you can
• 50:44
  Speaker 1: magically make yourself the opposite sex, then no, get then
• 50:48
  Speaker 1: you're gonna pass. You're just gonna be a woman. Yeah,
• 50:51
  Speaker 1: you're gonna.
• 50:52
  Speaker 2: Cast yeah exactly. So it's because I'm a non starter.
• 50:56
  Speaker 2: But in this case he's saying the logic of this.
• 50:59
  Speaker 2: So the the character that's sort of the world equivalent
• 51:04
  Speaker 2: of Satan incarnated one of his lieutenants as a woman
• 51:08
  Speaker 2: as a punishment, I guess for disobedience, That's what I'm guessing.
• 51:11
  Speaker 2: Note from what I know.
• 51:13
  Speaker 1: Before, he was like a lustful man. That was like
• 51:16
  Speaker 1: the whole like, you know, you want to.
• 51:21
  Speaker 2: Screw with that? And the answer is a complete lack
• 51:26
  Speaker 2: of artistic integrity, sir. We are dealing with a complete
• 51:30
  Speaker 2: lack of artistic integrity. They don't want to be responsible
• 51:33
  Speaker 2: for any external standard, including understanding the lore in such
• 51:38
  Speaker 2: a way that they can, you know, find a place
• 51:42
  Speaker 2: to insert their trans character that makes sense in the
• 51:45
  Speaker 2: context of the plot, the lore of the characterization. They
• 51:48
  Speaker 2: don't want to do that because they'd have no artistic
• 51:51
  Speaker 2: integrity none. They just want to They just want to
• 51:55
  Speaker 2: do whatever is convenient, and they don't even care about
• 52:00
  Speaker 2: the implications of what they do to the things that
• 52:03
  Speaker 2: they advocate. I swear to God, this is the primary
• 52:08
  Speaker 2: sin here is sloth is laziness, yeah, and its self
• 52:16
  Speaker 2: it is laziness protected by self righteousness.
• 52:20
  Speaker 1: Well, yeah, I was gonna say laziness and pride because
• 52:23
  Speaker 1: like the inability to say I think I did this
• 52:26
  Speaker 1: wrong or poorly, because when people say that was bad,
• 52:30
  Speaker 1: then what happens They say, no, you're bad because you
• 52:32
  Speaker 1: didn't like what I made. So, yeah, all right, let's
• 52:38
  Speaker 1: be We've gone for over an hour and I'm a
• 52:41
  Speaker 1: little worried that I'm because I got to pick Lindsay up.
• 52:43
  Speaker 1: So what was the gender?
• 52:45
  Speaker 2: The specific gender?
• 52:46
  Speaker 1: I want to jump to the gender part. That's what
• 52:48
  Speaker 1: I was gonna do. That's exactly what I was gonna do.
• 52:51
  Speaker 1: So let's jump ahead to this hit one about YouTube.
• 52:56
  Speaker 3: Did you use the ways to come back?
• 52:58
  Speaker 2: It's not important, it won't come up again.
• 53:00
  Speaker 5: That lack of tru detail makes the world feel tiny,
• 53:03
  Speaker 5: which isa, wait, wait, wait.
• 53:05
  Speaker 2: Wait, what why are we talking about the size of
• 53:08
  Speaker 2: the world. Okay, don't don't move it. It's probably just
• 53:10
  Speaker 2: an issue with the with the Yeah.
• 53:12
  Speaker 1: Where he where he put his chapter?
• 53:14
  Speaker 2: Yeah, I just want to make a point. That woman's
• 53:17
  Speaker 2: voice threw me right out.
• 53:19
  Speaker 1: It sounded like it was like dubbed over, like when.
• 53:22
  Speaker 2: Are we going to stop for some ava kada coast?
• 53:25
  Speaker 2: I need my butt cheeks shined.
• 53:28
  Speaker 1: Don't worry about it.
• 53:30
  Speaker 2: I need my I mean my volve of bedazzled. Where's that? Like,
• 53:33
  Speaker 2: where's where's the bedazzling stall?
• 53:35
  Speaker 1: In the Bazarre I always hated whenever, like somebody just
• 53:38
  Speaker 1: didn't know how to write themselves out of something, so
• 53:41
  Speaker 1: they would just make the characters say something like, well,
• 53:45
  Speaker 1: you know, you can't know that yet, Like they're basically
• 53:47
  Speaker 1: saying you don't we I can't tell you that now.
• 53:50
  Speaker 1: That's not important right now spoilers. That basically means the
• 53:54
  Speaker 1: writers like, I don't really have the answer to this
• 53:56
  Speaker 1: question yet, come back to me later.
• 54:00
  Speaker 2: It is all right, Yeah, Laziness, self righteousness, and greed.
• 54:12
  Speaker 2: That's what this is. This, this, this entire project is
• 54:16
  Speaker 2: all of that.
• 54:17
  Speaker 1: It is the We've covered three of the seven deadly
• 54:19
  Speaker 1: sins already. Then we got sloth, greed, and pride. What's next,
• 54:26
  Speaker 1: we got lust? That's four. So left is uh, you know, gluttony,
• 54:34
  Speaker 1: wrath and an envy. Yeah, I bet that will work
• 54:39
  Speaker 1: in here somehow. Okay, let's keep going. This is the
• 54:41
  Speaker 1: gender section of.
• 54:42
  Speaker 5: What epic fantasy should feel like. Each location is seen away,
• 54:48
  Speaker 5: and it robs the world of any sense of scope.
• 54:51
  Speaker 5: It also reinforces that the characters aren't people. They are
• 54:54
  Speaker 5: game tokens that get moved around the board their journeys.
• 54:57
  Speaker 5: It don't matter except journey. These are where people grow,
• 55:01
  Speaker 5: and the writers, because they don't get people, these little
• 55:06
  Speaker 5: issues cause the view We subconsciously wonder what doesn't feel
• 55:12
  Speaker 5: right about the show, travel times, world building, casting, These
• 55:16
  Speaker 5: aren't just a collection of nitpicks. This is a core
• 55:20
  Speaker 5: storytelling problem. This is a world that doesn't feel real,
• 55:24
  Speaker 5: filled with people who also don't feel real, and the
• 55:28
  Speaker 5: lack of care and understanding shown by the folks making
• 55:30
  Speaker 5: this bleeds into every part of it. And even if
• 55:33
  Speaker 5: you don't consciously notice all of them, the whole experience
• 55:36
  Speaker 5: is weakened. And even non book fans are gonna stop
• 55:39
  Speaker 5: watching and they did.
• 55:41
  Speaker 1: Okay, the biggest issue with the show you hear me,
• 55:44
  Speaker 1: ok Can I.
• 55:48
  Speaker 2: Just just address some of this. It's because these shows
• 55:52
  Speaker 2: are made for shareable bites and visuals and and in
• 56:00
  Speaker 2: interactions that can be snipped and shared like emojis or memes.
• 56:06
  Speaker 2: And also again, laziness, laziness and I'm like, looking at
• 56:13
  Speaker 2: the actual there's some serious production values in this stuff, right,
• 56:19
  Speaker 2: and nobody like all of it's going to the production
• 56:22
  Speaker 2: values and for some reason, a stable of like you know,
• 56:27
  Speaker 2: one hundred and fifty writers, none of whom can actually
• 56:31
  Speaker 2: seem to be able to write, like, have no actual merit.
• 56:35
  Speaker 2: So it's like it's like the writing is an afterthought.
• 56:38
  Speaker 2: And what's interesting is that the more production value and
• 56:43
  Speaker 2: the more CGI you can shove into these things, the
• 56:46
  Speaker 2: more the writing becomes an afterthought. Because when you weren't ABE,
• 56:51
  Speaker 2: when you had something like Jason and the Argonauts, you
• 56:54
  Speaker 2: had to have compelling characters. You had to have compelling
• 56:56
  Speaker 2: plots because while some people will be there for the
• 57:01
  Speaker 2: novelty of the special effects, most people won't. And it's
• 57:06
  Speaker 2: your versimilitude in other aspects of your storytelling that it's
• 57:10
  Speaker 2: going to sell the like the clamation as real, right,
• 57:14
  Speaker 2: you have to have characters that feel real. You have
• 57:17
  Speaker 2: to have events that feel real. You have to have
• 57:19
  Speaker 2: a world that feels real to some degree, or at
• 57:22
  Speaker 2: least is presents a sense of adventure, as we were
• 57:28
  Speaker 2: talking about on the Speed Saver show. Otherwise people are
• 57:32
  Speaker 2: not going to buy into, like earlier versions of special effects.
• 57:36
  Speaker 2: And if you do present characters that people can resonate
• 57:42
  Speaker 2: with their with their expressions, like they can. They can
• 57:45
  Speaker 2: you know, if Luke sees some gigantic death star coming,
• 57:49
  Speaker 2: you can. You can resonate with his fear and his
• 57:53
  Speaker 2: you know, his determination or whatever that makes the death
• 57:57
  Speaker 2: star more real, even if the special effects aren't completely authentic.
• 58:02
  Speaker 2: But because we don't do that anymore, we don't focus
• 58:04
  Speaker 2: on for similitude in other areas that are basically quiet,
• 58:08
  Speaker 2: like you need that, you need writing to do that.
• 58:12
  Speaker 2: This stuff becomes hollow and it doesn't feel real because
• 58:17
  Speaker 2: the characters aren't real. The plot really isn't real, how
• 58:20
  Speaker 2: institutions function isn't real. And you know, like storytelling really, like,
• 58:28
  Speaker 2: at least it might be the central task of storytelling.
• 58:31
  Speaker 2: Storytellers is to be able to create a sense of
• 58:35
  Speaker 2: that authenticity just with words on a page. That's like
• 58:40
  Speaker 2: think about the CGI that that you get when you're
• 58:43
  Speaker 2: just words on a page, right, But they don't they
• 58:47
  Speaker 2: don't have those skills. There are one hundred and fifty
• 58:49
  Speaker 2: writers in the writer pools. None of them can actually write.
• 58:54
  Speaker 2: None of them know how to frame things in a
• 58:56
  Speaker 2: way that creates authenticity. It's it's so much easier to
• 59:03
  Speaker 2: just write out identity based chick tracks Okay, yeah, all.
• 59:12
  Speaker 1: Right, now he's going to talk about the gender thing.
• 59:16
  Speaker 5: Okay, good handling of gender dynamics, falling into the same
• 59:19
  Speaker 5: traps of useless male characters and flawless females that have
• 59:23
  Speaker 5: been heavily robbing stories of their interests for over a decade. Now,
• 59:27
  Speaker 5: these folks really don't get how men and women behave.
• 59:31
  Speaker 5: It's a failure that's even more shameful since the source
• 59:34
  Speaker 5: material was all about this dynamic and how most of
• 59:37
  Speaker 5: our failures lie in seeing the opposite sex as the
• 59:40
  Speaker 5: opponent instead of a partner. Robert Jordan was an expert
• 59:44
  Speaker 5: at exploring the subtle differences or unadmitted similarities between men
• 59:48
  Speaker 5: and women, often in very humorous ways. One particular funny
• 59:53
  Speaker 5: scene from the books happens when parent and Fayl are
• 59:56
  Speaker 5: coming back to the town of Emmonsfield, and the mayor's
• 59:58
  Speaker 5: wife knows that Fayal is a four, so she takes
• 1:00:01
  Speaker 5: her aside for a quick little woman to woman chat
• 1:00:03
  Speaker 5: about how to handle these country men. A few pages later,
• 1:00:07
  Speaker 5: the couple has met up with two village men who
• 1:00:09
  Speaker 5: haven't seen parents since he left and he was single.
• 1:00:12
  Speaker 5: One takes him aside to give a little dad advice
• 1:00:14
  Speaker 5: about how to handle women, and it's basically the same advice.
• 1:00:18
  Speaker 5: Both times. Each group thinks they've outsmarted the other, and
• 1:00:22
  Speaker 5: it's a recurring theme with that town having a town
• 1:00:24
  Speaker 5: council of men and also a woman's circle, and each
• 1:00:27
  Speaker 5: one thinks they're really running the town and they're letting
• 1:00:31
  Speaker 5: the other play at running unimportant matters. It's hilarious.
• 1:00:38
  Speaker 2: It's actually accurate to his history. Peasant societies were very
• 1:00:43
  Speaker 2: much like that.
• 1:00:45
  Speaker 1: Yeah, and they worked.
• 1:00:48
  Speaker 2: Okay, so let's let's hear what they changed that into.
• 1:00:51
  Speaker 5: Yeah, comedy in these books is so underrated. Unfortunately, the
• 1:00:57
  Speaker 5: show is made by people who are on six or
• 1:01:00
  Speaker 5: seventh wave feminism now and would not allow any of
• 1:01:03
  Speaker 5: this kind of humor, and they certainly didn't want to
• 1:01:05
  Speaker 5: have even the appearance of men being superior to women.
• 1:01:09
  Speaker 5: This killed the writing because it left zero room for levity,
• 1:01:12
  Speaker 5: and it resulted in the female characters being flawless, which
• 1:01:15
  Speaker 5: is another way of saying boring. When you're terrified to
• 1:01:18
  Speaker 5: give a character flaws, you also don't give them any
• 1:01:20
  Speaker 5: story whatsoever. And since the writers think that you're too
• 1:01:23
  Speaker 5: stupid to understand their enlightened ideals, They also end up
• 1:01:27
  Speaker 5: creating dialogue that is as terrible as it is insulting.
• 1:01:31
  Speaker 1: I came to say to you, it looks like you
• 1:01:34
  Speaker 1: didn't need it.
• 1:01:35
  Speaker 2: I love this shot.
• 1:01:36
  Speaker 1: Oh god, they You know what's great is they're still
• 1:01:43
  Speaker 1: doing that. They're still doing that. I don't need saving.
• 1:01:46
  Speaker 1: They're still doing that, like anybody gives a shit at
• 1:01:48
  Speaker 1: this point. I came to save you, but it looks
• 1:01:54
  Speaker 1: like I wasn't needed. Well that's all right, milady.
• 1:01:59
  Speaker 2: So the queen McQueen kneel before her, kiss her feet. McQueen,
• 1:02:07
  Speaker 2: you saved me by your very presence, McQueen.
• 1:02:12
  Speaker 1: Uh, okay, you don't need saving.
• 1:02:14
  Speaker 2: Could they shut the fuck up now?
• 1:02:18
  Speaker 1: Could you?
• 1:02:19
  Speaker 2: Could you? If this is this is the ideal, ladies,
• 1:02:23
  Speaker 2: maybe you should just shut up about your complaints. And
• 1:02:26
  Speaker 2: in fact, if you don't need saving, maybe you can
• 1:02:28
  Speaker 2: do some saving. Have you ever think considered that? Let's
• 1:02:31
  Speaker 2: move on. Like I was just Jonthan was showing me
• 1:02:33
  Speaker 2: this clip of this woman who was talking about how
• 1:02:35
  Speaker 2: she she supports herself, and she's like, I'm a strong
• 1:02:39
  Speaker 2: independent woman woman, I support myself. And the men were
• 1:02:42
  Speaker 2: laughing because they're like, that's it. That's what that's what
• 1:02:46
  Speaker 2: we're supposed to celebrate, you doing the bare minimum of
• 1:02:49
  Speaker 2: an adult, Like this is it? Like you saving yourself
• 1:02:53
  Speaker 2: is the bare minimum? Now show me you you ladies
• 1:02:56
  Speaker 2: saving some men. I don't that's gonna happen. Well maybe
• 1:03:01
  Speaker 2: it will, but then but then they have to be
• 1:03:05
  Speaker 2: they have to they have to act like it is
• 1:03:08
  Speaker 2: some huge imposition and that that it makes the man lesser.
• 1:03:15
  Speaker 2: So uh, let me let me qualify you. You save men,
• 1:03:22
  Speaker 2: and you act like it is your it is your
• 1:03:25
  Speaker 2: honor to serve. You act with gratitude because the men
• 1:03:30
  Speaker 2: have your back too. And uh, and you don't you
• 1:03:34
  Speaker 2: don't belittle men? That that would be, that would be
• 1:03:38
  Speaker 2: the new that would be That would.
• 1:03:39
  Speaker 4: Be actually revolutionary, don't you think, like just just to
• 1:03:44
  Speaker 4: be in being creative and revolutionary, just to be a
• 1:03:49
  Speaker 4: member of the team, you know, and not stick it
• 1:03:53
  Speaker 4: to the man.
• 1:03:54
  Speaker 2: And that would actually demonstrate that the idea of men
• 1:03:58
  Speaker 2: and women be you know, having each other's back and
• 1:04:02
  Speaker 2: having the capability of doing so. That would actually be
• 1:04:05
  Speaker 2: real equality. All right, all right?
• 1:04:09
  Speaker 5: Fair part the heavy handedness also because the show runners
• 1:04:12
  Speaker 5: favored the female characters but wanted to keep calling this
• 1:04:15
  Speaker 5: an adaptation, the men needed to be on screen for
• 1:04:18
  Speaker 5: at least a while, but they had nothing to do,
• 1:04:21
  Speaker 5: so they were boring. A good portion of the show
• 1:04:24
  Speaker 5: features people who have little to no reason to be there,
• 1:04:27
  Speaker 5: so you have a terrible viewing experience where you wonder
• 1:04:31
  Speaker 5: who is this Matt guy? And why is anybody letting
• 1:04:34
  Speaker 5: this jerk hang around since he's completely useless. Oh, second
• 1:04:37
  Speaker 5: season is almost over. I guess we gotta let him
• 1:04:39
  Speaker 5: toot this hideous looking horn. Book says, we have to whatever.
• 1:04:43
  Speaker 5: Book Matt is mischievous, impulsive, and hilarious, but we'll always
• 1:04:47
  Speaker 5: have your back. Show Matt is just there. I can
• 1:04:51
  Speaker 5: actually summarize Bookmatt for you, really really quickly.
• 1:04:54
  Speaker 1: Oh here we go. Okay, you won't catch me doing that.
• 1:04:58
  Speaker 5: I just want to gamble. I'm no bloody hero, Matt exclaimed,
• 1:05:02
  Speaker 5: while proceeding to do the most heroic thing.
• 1:05:06
  Speaker 1: It's just that again and again. But if anything happened
• 1:05:08
  Speaker 1: to him, I would kill everyone in this room and
• 1:05:10
  Speaker 1: then myself.
• 1:05:10
  Speaker 5: The cramped nature of this adaptation leaves no room for
• 1:05:14
  Speaker 5: setup or motivations to unforge.
• 1:05:16
  Speaker 1: Yeah, so how do you adapt a story where the
• 1:05:20
  Speaker 1: author was trying to give like, I guess he has
• 1:05:25
  Speaker 1: like a cast of characters and he wants them all
• 1:05:28
  Speaker 1: to have an appeal. I didn't read the book, so
• 1:05:30
  Speaker 1: I don't know if he succeeded, but I assume he
• 1:05:32
  Speaker 1: did because it's a very popular book series amongst people
• 1:05:35
  Speaker 1: who like to read fantasy. So he has all these
• 1:05:38
  Speaker 1: characters and he gave them all stuff to do. I
• 1:05:40
  Speaker 1: look at like this Lord of the Rings, because I
• 1:05:42
  Speaker 1: know Lord of the Rings. Okay, so you're you're you're
• 1:05:45
  Speaker 1: doing Lord of the Rings, and you got like you
• 1:05:47
  Speaker 1: have to give screen time to and story time and
• 1:05:52
  Speaker 1: moments to shine for Frodo and Sam and Aragorn and
• 1:05:56
  Speaker 1: Legalis and Gimli and Mary and Pippin' and Gandolf. Right,
• 1:06:01
  Speaker 1: and that's just the good guys. You also got to
• 1:06:03
  Speaker 1: give time for you know, Saramon and the Orcs and
• 1:06:08
  Speaker 1: the goblins, and you know, you gotta give time to
• 1:06:11
  Speaker 1: tree Beard. You gotta give time to the ring Raths,
• 1:06:13
  Speaker 1: and you give them all their their things. They had
• 1:06:16
  Speaker 1: their own, you know, the things that they do that
• 1:06:20
  Speaker 1: are very impactful on the story. And if you do
• 1:06:22
  Speaker 1: like this kind of adaptation, then what they're gonna do
• 1:06:27
  Speaker 1: is they're gonna give as much time as possible to
• 1:06:30
  Speaker 1: Galadriel and Rowin and Aoin, and the male character is
• 1:06:34
  Speaker 1: just gonna be there like they're gonna do what they
• 1:06:37
  Speaker 1: have to do, Like, oh, well, I guess Gandalf does,
• 1:06:39
  Speaker 1: you know, throw himself at the ball rog at one point,
• 1:06:42
  Speaker 1: so we'll just do that really quick. But most of
• 1:06:44
  Speaker 1: the time he's doing nothing because we can't have the
• 1:06:47
  Speaker 1: men outshine the women at any point ever in the story, right,
• 1:06:52
  Speaker 1: even if the story is about men, so and the
• 1:06:56
  Speaker 1: women had to do a bunch of stuff that the
• 1:06:57
  Speaker 1: men didn't do or they base replaced them in some way,
• 1:07:01
  Speaker 1: except for like the extremely important things. I think I
• 1:07:04
  Speaker 1: may be exaggerating, but I think that's what he's trying
• 1:07:06
  Speaker 1: to say. Yes about this character in the story, Well,
• 1:07:10
  Speaker 1: when you.
• 1:07:11
  Speaker 2: Write through the intersectional lens, you really only have two characters,
• 1:07:15
  Speaker 2: and honestly, you just really have one, and that is
• 1:07:19
  Speaker 2: the oppressor and the oppressed. And the oppressed always have
• 1:07:24
  Speaker 2: to have moments of overcoming their oppression and proving that
• 1:07:29
  Speaker 2: the the the the perception of the oppressor wrong. And
• 1:07:35
  Speaker 2: you'll you'll see if you watch I'm guessing no, I
• 1:07:37
  Speaker 2: haven't seen the TV show yet, but I'm guessing most
• 1:07:40
  Speaker 2: character interactions devolve into that, So some relationship between the
• 1:07:47
  Speaker 2: oppressed and the oppressor. And because women are the oppressed,
• 1:07:52
  Speaker 2: they're going to have scenes of sticking it to the man,
• 1:07:56
  Speaker 2: being better than the man, overcoming the man, finding out
• 1:08:01
  Speaker 2: that they were they were perfect all along because the
• 1:08:04
  Speaker 2: man says that they you know, they have to actually
• 1:08:06
  Speaker 2: achieve something, to achieve something, you know, that kind of thing.
• 1:08:10
  Speaker 2: So everything is going in every situation, every character interaction
• 1:08:14
  Speaker 2: will fall down to that. And you can't have teamwork
• 1:08:17
  Speaker 2: in that context because teamwork is between equals, not the
• 1:08:21
  Speaker 2: moral morally superior in the morally inferior. Incidentally, the morally
• 1:08:26
  Speaker 2: superior in this in the in the intersectional caste system
• 1:08:31
  Speaker 2: is people with claims to pass depression current depression. You
• 1:08:35
  Speaker 2: know that that's not a that's not that you can't
• 1:08:38
  Speaker 2: claim that. I don't know when it starts and stops,
• 1:08:40
  Speaker 2: but it's always past depression, not not current disenfranchisement or disadvantage. Yeah,
• 1:08:46
  Speaker 2: and also you can't actually question their interpretation of past
• 1:08:50
  Speaker 2: depression in any capacity either. So it's basically just a
• 1:08:55
  Speaker 2: moral cast higher, a moral hierarchy based on arbitrary factors
• 1:09:00
  Speaker 2: by a bunch of white female academics in the seventies.
• 1:09:05
  Speaker 2: It doesn't matter that they're white and female. Probably matters
• 1:09:09
  Speaker 2: more that they're female. I'm just saying that that's what
• 1:09:11
  Speaker 2: they were. So it's it's like they just decided, Okay,
• 1:09:15
  Speaker 2: we're going to put ourselves on top, right, everybody else
• 1:09:18
  Speaker 2: is gonna below us. Uh, except for maybe minorities, but
• 1:09:21
  Speaker 2: only if they're female, and only if they buy, only
• 1:09:24
  Speaker 2: if they agree with us completely. So no Black Christian women,
• 1:09:28
  Speaker 2: they're they're actually the oppressors too. And uh, and so
• 1:09:32
  Speaker 2: that this is this is the cast system that we're
• 1:09:34
  Speaker 2: going to have and by society, and we're gonna teach
• 1:09:36
  Speaker 2: it everywhere, and everybody's gonna agree to us, agree with us.
• 1:09:39
  Speaker 2: And that's the way that we're going to go forward.
• 1:09:41
  Speaker 2: And and lo and behold. That's what it was. So
• 1:09:44
  Speaker 2: this cast system breaks every when you write from the perspective,
• 1:09:48
  Speaker 2: this cast system, every interaction breaks down to oppressed an oppressor.
• 1:09:53
  Speaker 2: It's completely arbitrary in a lot of ways. But uh,
• 1:09:57
  Speaker 2: but you have to just basically look at the chart, right,
• 1:09:59
  Speaker 2: is this person an oppressor relative to this person? Well,
• 1:10:02
  Speaker 2: these are the actions that the oppressed will take in
• 1:10:06
  Speaker 2: order to overcome their oppression, stick it to the man,
• 1:10:09
  Speaker 2: et cetera. And these are the actions that the oppressor
• 1:10:12
  Speaker 2: needs to take. Submission, sacrifice, abjuration like groveling, you know,
• 1:10:19
  Speaker 2: these kinds of things. And that's the way that the
• 1:10:22
  Speaker 2: story will proceed. No teamwork, no individuals shining based on
• 1:10:27
  Speaker 2: their individual merit, because individuals don't exist. There are no people.
• 1:10:33
  Speaker 2: There is only the interaction between oppressed oppression, the interaction
• 1:10:40
  Speaker 2: between oppressed and oppressor. That's it. It is the most
• 1:10:48
  Speaker 2: fucked up thing and that's why it creates fucked up
• 1:10:53
  Speaker 2: non art. And of course this is again just an
• 1:10:57
  Speaker 2: excuse for profound laziness. All right, let's bloke.
• 1:11:00
  Speaker 1: I'm gonna jump ahead to the male female themes here
• 1:11:05
  Speaker 1: because we're yeah, it's two thirty, so yeah, we're getting
• 1:11:08
  Speaker 1: we're running out.
• 1:11:09
  Speaker 2: Of I've never seen someone try to turn themselves in
• 1:11:13
  Speaker 2: and Phil she shut me down last year and told
• 1:11:15
  Speaker 2: me she was a dark frind. You're not fun when
• 1:11:17
  Speaker 2: you're waiting to.
• 1:11:18
  Speaker 5: Die, and their relationship. It also means nothing if you
• 1:11:23
  Speaker 5: were bored while watching these scenes. This is why he
• 1:11:27
  Speaker 5: has no internal struggle. He's merely trudging through the plot
• 1:11:31
  Speaker 5: delivering raspy, breathy lines for drama because this actor can't act.
• 1:11:36
  Speaker 1: That's it. I did contraft from Bonnhunt and Fun. Look.
• 1:11:41
  Speaker 5: There are a ton of book examples of that male
• 1:11:43
  Speaker 5: female dynamic, but those two in particular are my favorite.
• 1:11:47
  Speaker 5: They offer some of the best exploration of our different
• 1:11:51
  Speaker 5: communication styles, our aspirations and presuppositions about the world, and
• 1:11:56
  Speaker 5: the show touched on none of it. One of those
• 1:11:59
  Speaker 5: themes is the idea of respect towards women. Paren has
• 1:12:04
  Speaker 5: the more traditional view that I think many of you
• 1:12:06
  Speaker 5: guys likely share. Like, your wife is special, you treat
• 1:12:10
  Speaker 5: her special. You don't raise your voice to her. That's disrespectful.
• 1:12:14
  Speaker 5: But fail comes from a culture where you respect your
• 1:12:17
  Speaker 5: wife enough to be tough with her, because it tells
• 1:12:20
  Speaker 5: her that you know she's tough enough to handle it.
• 1:12:23
  Speaker 5: Not only is this very thought provoking, it also makes
• 1:12:26
  Speaker 5: the pair interesting to read about. Their whole relationship is
• 1:12:30
  Speaker 5: about the meaning of respect and leadership and submission and balance,
• 1:12:34
  Speaker 5: and it's a roller coaster. Their TV versions only just
• 1:12:37
  Speaker 5: met in this season, but there wasn't even a hint
• 1:12:40
  Speaker 5: of a foundation for any of that.
• 1:12:43
  Speaker 1: We missed out on.
• 1:12:43
  Speaker 5: Even more Fun and comedic male female themes because of
• 1:12:46
  Speaker 5: the absence of that character. Gaul he's a male Aeel
• 1:12:49
  Speaker 5: and Paren's Burrow to the end. The Iel have very
• 1:12:53
  Speaker 5: different customs from the other characters, and the books had
• 1:12:56
  Speaker 5: plenty of comedy when golf.
• 1:12:57
  Speaker 1: So they're getting rid of the bros. Apparently there was
• 1:12:59
  Speaker 1: a bro in the story and he's not in there.
• 1:13:03
  Speaker 1: If you don't have a bro in your story, I
• 1:13:06
  Speaker 1: don't want to read it like you. Bros are, like said,
• 1:13:09
  Speaker 1: they're centrally important. I think a bro character is more
• 1:13:12
  Speaker 1: important than a love interest female character, for sure, Like
• 1:13:15
  Speaker 1: for sure, Big Trouble, Little China has a bro in
• 1:13:19
  Speaker 1: it all right, Gracie Law, who's the female character. They
• 1:13:24
  Speaker 1: don't hook up till the very end, and he doesn't
• 1:13:26
  Speaker 1: even Kurt Russell leaves her, leaves her hanging at the end,
• 1:13:29
  Speaker 1: which is amazing. There has to be a bro. I
• 1:13:32
  Speaker 1: don't know what you can I'm just saying, like you
• 1:13:35
  Speaker 1: can't get like all shown in anime, like all of it. Okay,
• 1:13:39
  Speaker 1: that's really popular. Boys, there's a bro. There's at least
• 1:13:42
  Speaker 1: one bro character, and that usually is a better character
• 1:13:45
  Speaker 1: than the main character, or at least a more of
• 1:13:47
  Speaker 1: a favorite. The bros are crucial. You have to have
• 1:13:50
  Speaker 1: a bro in your story.
• 1:13:52
  Speaker 2: Yeah, I would point out that this is still taking
• 1:13:56
  Speaker 2: a big step back. This is still very traditional. It's
• 1:14:00
  Speaker 2: basically just men being like, well, how do I how
• 1:14:03
  Speaker 2: do I do give what my woman wants?
• 1:14:07
  Speaker 6: Right?
• 1:14:07
  Speaker 2: Well, you know it's fine, like you can have that.
• 1:14:10
  Speaker 2: It just seems like it's in a conversation is never
• 1:14:13
  Speaker 2: about well, what how do women express respect to men?
• 1:14:17
  Speaker 2: How do women support men? Et cetera, et cetera, et cetera. Okay,
• 1:14:24
  Speaker 2: so why don't we move on to the next one.
• 1:14:27
  Speaker 2: Let's do the degeneracy, all.
• 1:14:29
  Speaker 1: Right, because we're gonna change to this video the absolute
• 1:14:36
  Speaker 1: degeneracy of modern writing. So I'll plead the intro of
• 1:14:41
  Speaker 1: this one.
• 1:14:43
  Speaker 2: I'm gonna just wash everything because the voidcat has left
• 1:14:46
  Speaker 2: her allergens behind. I've given her a break in the
• 1:14:51
  Speaker 2: other room because she's she's she's going to She's not
• 1:14:54
  Speaker 2: destroying the technical like the machines. She's destroying me, guys.
• 1:14:59
  Speaker 2: She's changed her attack pattern, her attack vector. But I'll
• 1:15:04
  Speaker 2: be right back. I'm listening.
• 1:15:05
  Speaker 1: I'm just okay displaying it.
• 1:15:09
  Speaker 3: When I started this channel, it was largely because I
• 1:15:11
  Speaker 3: had been noticing a broad decline in storytelling in general
• 1:15:15
  Speaker 3: and literature in particular, as decline that began a lot
• 1:15:19
  Speaker 3: longer ago than most people think. And my aim has
• 1:15:22
  Speaker 3: always been to help in so far as I am able,
• 1:15:25
  Speaker 3: to remind writers of the true fundamentals of storytelling and
• 1:15:28
  Speaker 3: to hopefully elevate their craft into something that isn't beholden
• 1:15:32
  Speaker 3: to current market trends, nor controlled by the fleeting tastes
• 1:15:35
  Speaker 3: of book talk or Bookstagram or whatever. However, I've been
• 1:15:39
  Speaker 3: noticing that there are a lot more aspects that have
• 1:15:41
  Speaker 3: been contributing to the decline of literature besides just a
• 1:15:44
  Speaker 3: lack of understanding regarding the fundamentals. Today, I would like
• 1:15:47
  Speaker 3: to focus on one of the most glaring issues plaguing
• 1:15:50
  Speaker 3: modern publishing.
• 1:15:54
  Speaker 1: Smart all right, so jump ahead to women, the role
• 1:16:00
  Speaker 1: of women in literature.
• 1:16:02
  Speaker 2: Can I just point something out? I want to point
• 1:16:04
  Speaker 2: this out really quickly. This is to all of my
• 1:16:07
  Speaker 2: uh you know, fan fic and archive of our own
• 1:16:11
  Speaker 2: uh Dare I say, sisters, how are you going to
• 1:16:15
  Speaker 2: create fanfic of original properties if those original properties are
• 1:16:19
  Speaker 2: no longer being made?
• 1:16:21
  Speaker 1: Like?
• 1:16:21
  Speaker 2: How do you create smut of smut.
• 1:16:26
  Speaker 1: Yeah right, it's like it's like AI art. Yeah, it's
• 1:16:29
  Speaker 1: it's going to start to uh, it's becoming self referential.
• 1:16:34
  Speaker 2: Yes, it's in its horrible Yeah, Okay, let's keep going. Okay,
• 1:16:41
  Speaker 2: make do all right.
• 1:16:42
  Speaker 3: To start with, let's just push aside any conversation about taste.
• 1:16:45
  Speaker 3: This is not going to be a video about what
• 1:16:47
  Speaker 3: I like or don't like to read. What I am
• 1:16:49
  Speaker 3: offering you in this video is not my opinion or
• 1:16:51
  Speaker 3: my reading preference. It is facts. And the first thing
• 1:16:54
  Speaker 3: we need to establish is that all this so called
• 1:16:57
  Speaker 3: romance fiction and most, if not all, of the women's
• 1:17:00
  Speaker 3: literature out there, is a not women's literature. It's as
• 1:17:08
  Speaker 3: a woman.
• 1:17:09
  Speaker 1: She she mouthed porn. Okay, so she's trying not to
• 1:17:15
  Speaker 1: get her channel demonetized. We are not monetizing our content.
• 1:17:20
  Speaker 1: So porn, porn, porn, porn, porn, that's what she's saying.
• 1:17:23
  Speaker 2: Okay, And the most common defense I hear, although we
• 1:17:26
  Speaker 2: get to boosted from these words, probably well maybe we
• 1:17:29
  Speaker 2: get to boosted because we just defend people. People are like,
• 1:17:32
  Speaker 2: listen to like two minutes of us, and they're like, oh,
• 1:17:34
  Speaker 2: you guys, what are these mouth noises? You're making.
• 1:17:40
  Speaker 5: Ven.
• 1:17:40
  Speaker 1: It's so offensive, it's making me giving the hurdie feely.
• 1:17:46
  Speaker 1: Somebody do something about it. Wow. Okay.
• 1:17:53
  Speaker 3: For romance fiction, especially the romance fiction that is so
• 1:17:56
  Speaker 3: prevalent today, is that it is literature for women. Whenever
• 1:18:00
  Speaker 3: anyone tries to express some concern about these genres or
• 1:18:03
  Speaker 3: the nature of their content, that person is immediately condemned
• 1:18:06
  Speaker 3: for being anti woman or anti women's literature. The idea
• 1:18:10
  Speaker 3: being that these types of books are not just popular
• 1:18:12
  Speaker 3: among women, but that they define womanhood, and to be
• 1:18:16
  Speaker 3: opposed to them in any way is to be opposed
• 1:18:18
  Speaker 3: to women.
• 1:18:19
  Speaker 1: Well you didn't You never wanted to get fucked by
• 1:18:21
  Speaker 1: a minotaur? How were you an anti woman? There was
• 1:18:26
  Speaker 1: the book going around we'll cover I saw it on
• 1:18:30
  Speaker 1: X and it was like some like, I don't know.
• 1:18:33
  Speaker 1: It's a romanticy book obviously of like minotaurs imprisoning women
• 1:18:38
  Speaker 1: and making them into their breed slaves. And I was like,
• 1:18:41
  Speaker 1: does anybody get rescued? Like does you know? And everyone's
• 1:18:44
  Speaker 1: sharing around. I remember Stefan Malnu was one of them,
• 1:18:47
  Speaker 1: and he was like, please tell me this isn't something
• 1:18:50
  Speaker 1: that actually exists. If you're like, oh, yes, it does.
• 1:18:54
  Speaker 2: We're potentially going to read the first chapter at the
• 1:18:57
  Speaker 2: convention the Writer's Retreat with Mike. Oh you know about Yes,
• 1:19:02
  Speaker 2: we've had it as a request.
• 1:19:04
  Speaker 1: Oh my god, yes, good luck, Alison. I don't I
• 1:19:09
  Speaker 1: don't know.
• 1:19:11
  Speaker 2: It's uh again, I will, I will look at it
• 1:19:16
  Speaker 2: from the point of view of artistic merit.
• 1:19:19
  Speaker 1: And we got x We got x chat.
• 1:19:24
  Speaker 2: Did you know that x chat?
• 1:19:27
  Speaker 1: Yeah? Like that, like Twitter have the Twitter chat and
• 1:19:30
  Speaker 1: people commenting. Samuel Foreman homosexual relationships were into that but
• 1:19:34
  Speaker 1: never featured. The TV series changed both of these points. Yeah,
• 1:19:38
  Speaker 1: well they weren't. But the show made the thing because,
• 1:19:42
  Speaker 1: like the sex in the books existed, but it wasn't
• 1:19:44
  Speaker 1: like something they spent a lot of time on. But
• 1:19:46
  Speaker 1: the show spent a lot more time on it because yeah,
• 1:19:49
  Speaker 1: because watch it.
• 1:19:51
  Speaker 2: It is the pain. It's the woman's porn version of
• 1:19:53
  Speaker 2: world of work of world, way all of time. That's it. Yeah,
• 1:19:58
  Speaker 2: it's just it's But But the thing is that while
• 1:20:01
  Speaker 2: you have to get the men's porn version of something
• 1:20:04
  Speaker 2: you know from from your local sticky floored video rental,
• 1:20:10
  Speaker 2: you can get the women's version of porn on any
• 1:20:14
  Speaker 2: mainstream streaming service, because that because we don't recognize that
• 1:20:20
  Speaker 2: women's sexuality should be contained. It's not an infinite good.
• 1:20:24
  Speaker 2: I have no idea why voidcat is like absolutely determined
• 1:20:30
  Speaker 2: two to interrupt the stream? Why are you doing this
• 1:20:37
  Speaker 2: like you are? You are absolutely determined to do this?
• 1:20:41
  Speaker 2: And I I can't tell you why. She's just this
• 1:20:44
  Speaker 2: one of those days. Maybe it's a full move.
• 1:20:48
  Speaker 1: Jojo is chilling over here, Yeah, Jojo is such.
• 1:20:51
  Speaker 2: Is the goodest of good boys, a vector of care.
• 1:21:00
  Speaker 1: Of me right now, all right, he's doing something very important.
• 1:21:04
  Speaker 1: He's like sleeping. Let's uh, let's keep going.
• 1:21:08
  Speaker 3: Such as myself, who are critical of these books, are
• 1:21:10
  Speaker 3: often said to be suffering from internalized misogyny. The reality
• 1:21:15
  Speaker 3: about all this is that it isn't a question of
• 1:21:17
  Speaker 3: women versus anti women, or even women versus man. The
• 1:21:20
  Speaker 3: yousue here is probably one of the oldest ones in existence.
• 1:21:24
  Speaker 2: Well, let's let's let her finish your thought that I'm
• 1:21:26
  Speaker 2: gonna all right, all right.
• 1:21:28
  Speaker 3: It's the normalization of explicit adult entertainment. Whether you are
• 1:21:33
  Speaker 3: trying to do that is pretty irrelevant, because the number
• 1:21:36
  Speaker 3: one reasons.
• 1:21:37
  Speaker 2: One has are men women trying to normalize adult entertainment.
• 1:21:42
  Speaker 2: Are men really trying to do that? I mean, aside
• 1:21:45
  Speaker 2: from Game of Thrones, but that was like an HBO.
• 1:21:49
  Speaker 1: But is this I didn't really think that Game of
• 1:21:52
  Speaker 1: Thrones was titillating though, Yeah, I was sort of gross.
• 1:21:57
  Speaker 1: It was just kind of exploitative, like not something exploited,
• 1:22:01
  Speaker 1: but it was something kind of like you could just
• 1:22:03
  Speaker 1: tell the people who made it were like, look at us,
• 1:22:05
  Speaker 1: we're so edgy. This isn't this isn't your dad's Lord
• 1:22:08
  Speaker 1: of the Rings. This is edgier an adult. Look at
• 1:22:11
  Speaker 1: the penis and I'm just like, but where are the
• 1:22:14
  Speaker 1: dragons and the sword fights? Oh? There are none because
• 1:22:16
  Speaker 1: this story just drags on forever.
• 1:22:18
  Speaker 2: That's House of Dragon. Well there are none because technically
• 1:22:22
  Speaker 2: there weren't any dragons really in that.
• 1:22:24
  Speaker 1: But okay, but I mean, like the fantasy stuff that
• 1:22:27
  Speaker 1: was cool, Like most of the fantasy stuff I watching
• 1:22:31
  Speaker 1: significantly And while the world looked like a fantasy world,
• 1:22:35
  Speaker 1: and I had all of the you know, the costumes
• 1:22:38
  Speaker 1: and the locations and there was a map and the
• 1:22:40
  Speaker 1: cool intro, but when it came down to actually seeing
• 1:22:43
  Speaker 1: like some shit happen, most of it was done off
• 1:22:46
  Speaker 1: screen or it was people reflecting on it. Hey, man,
• 1:22:48
  Speaker 1: I remember that time that oh boy charged the front
• 1:22:51
  Speaker 1: lines with the flaming sword, and I was like, Oh,
• 1:22:53
  Speaker 1: when is that gonna happen? It didn't, and I was like, no,
• 1:22:56
  Speaker 1: this isn't for me. This isn't for me, Like I
• 1:22:58
  Speaker 1: want to see the stuff. Don't tell me about it,
• 1:23:01
  Speaker 1: show it to me. But anyway, I think it was.
• 1:23:06
  Speaker 1: I think it was just like, it's too expensive to
• 1:23:09
  Speaker 1: shoot a battle scene, but let's show some boobs because
• 1:23:13
  Speaker 1: we can get that, Like that's easy, you know, and
• 1:23:16
  Speaker 1: they did. So it was it was all about the budget,
• 1:23:20
  Speaker 1: all right, anyway.
• 1:23:22
  Speaker 3: Let's go try to normalize this kind of you know,
• 1:23:27
  Speaker 3: explicit content is money. But I'm getting a little ahead
• 1:23:32
  Speaker 3: of myself. First of all, we need to establish this.
• 1:23:34
  Speaker 2: I'm going to go anywhere else of this because I
• 1:23:35
  Speaker 2: think that her analysis is not completely accurate because we're
• 1:23:40
  Speaker 2: not seeing we're not really seeing the normalization of porn
• 1:23:44
  Speaker 2: for men. There's that. I don't think there's any effort
• 1:23:49
  Speaker 2: to start showing porn in for men in schools or
• 1:23:53
  Speaker 2: having it on the shelves of Walmart or any of that.
• 1:23:58
  Speaker 1: I don't think that anything we treat porn for men
• 1:24:01
  Speaker 1: and porn for women as completely different animals.
• 1:24:04
  Speaker 2: Now, you might argue that there are certain certain subset
• 1:24:07
  Speaker 2: of trans women who might be pushing their sexuality into
• 1:24:11
  Speaker 2: trying to normalize it in uh, you know, like in
• 1:24:14
  Speaker 2: educational contexts. But I'm not going to blame that on men.
• 1:24:20
  Speaker 2: I don't think that is the men are to blame
• 1:24:23
  Speaker 2: for that. So I don't think I don't think this
• 1:24:27
  Speaker 2: is this is what's happening on I don't think men
• 1:24:28
  Speaker 2: are trying to normalize this stuff. What's happening is specifically
• 1:24:32
  Speaker 2: women are trying to normalize it. And they're trying to
• 1:24:34
  Speaker 2: normalize it one because they want to because for whatever reason,
• 1:24:39
  Speaker 2: women think that having appropriate places for stuff is being
• 1:24:46
  Speaker 2: silenced and they have a big threat narrative that if
• 1:24:51
  Speaker 2: society is silencing them, then it's it is akin to
• 1:24:55
  Speaker 2: original sin or some crap. So women actually have the
• 1:24:58
  Speaker 2: tools to normalize their sexual interests, and these tools are
• 1:25:01
  Speaker 2: being used by, let's face it, a bunch of women
• 1:25:05
  Speaker 2: who are sexual predators and they are making this. Women
• 1:25:09
  Speaker 2: like this fall in line because they want to appear
• 1:25:13
  Speaker 2: to be a block. They want to appear to use
• 1:25:16
  Speaker 2: the oppression of women in order to inflict their sexual
• 1:25:22
  Speaker 2: behavior on others, like true fricking predators and the reason
• 1:25:27
  Speaker 2: and they want it. They need to silence this woman
• 1:25:30
  Speaker 2: because if it doesn't appear that this is something that
• 1:25:32
  Speaker 2: all women want, then it actually removes their tool, like
• 1:25:38
  Speaker 2: it lessens its effectiveness, that weapons effectiveness, because you know,
• 1:25:43
  Speaker 2: if it isn't seen as in the interests of all women,
• 1:25:46
  Speaker 2: then you can say, well, if it isn't in the
• 1:25:48
  Speaker 2: interests of all women, why do it? Right, It's not
• 1:25:50
  Speaker 2: really about women's oppression, Okay, So this is the dynamic
• 1:25:55
  Speaker 2: that's behind it. She is running a foul of being
• 1:25:58
  Speaker 2: forced to step to to fall in line by the loudest,
• 1:26:03
  Speaker 2: most narcissistic, most predatory female voices. And they want to
• 1:26:08
  Speaker 2: normalize their pornography everywhere because it's they get a thrill
• 1:26:14
  Speaker 2: out of it. That's what you know, That's what exhibitionists do.
• 1:26:17
  Speaker 2: They get a thrill out of shoving their they're junk
• 1:26:19
  Speaker 2: in your face, right, they get a thrill out of
• 1:26:22
  Speaker 2: breaking people's boundaries. And they're not just normalizing smut. Apparently
• 1:26:28
  Speaker 2: they've normalized sexual assault at their conventions. Because this has
• 1:26:32
  Speaker 2: been an internal problem with the romance genre. And once again,
• 1:26:38
  Speaker 2: another person, another bunch of men have been sexually assaulted,
• 1:26:41
  Speaker 2: and nothing is going to get done. Nothing is going
• 1:26:45
  Speaker 2: to get done some minor changes to the format, but
• 1:26:50
  Speaker 2: the people who put on the convention is still going
• 1:26:52
  Speaker 2: to continue to run those conventions because that's a non starter.
• 1:26:56
  Speaker 2: I mean, really, if you think about it, when a
• 1:27:00
  Speaker 2: man says no to a woman sexually and she says,
• 1:27:03
  Speaker 2: ha ha ha ha, I'm going to take what I
• 1:27:05
  Speaker 2: want anyway, that's really sticking it to the patriarchy, right,
• 1:27:11
  Speaker 2: So you know, enjoy like you are on this wild lady.
• 1:27:16
  Speaker 2: You are on this wild ride without getting off because
• 1:27:21
  Speaker 2: the loudest voices in the room, the loudest female voices
• 1:27:24
  Speaker 2: in the room, have decided that this is what they
• 1:27:26
  Speaker 2: want to do, and they are not going to listen
• 1:27:30
  Speaker 2: to you saying, hey, well I don't want actually smut
• 1:27:32
  Speaker 2: and everything. They're going to listen to that. They're just
• 1:27:35
  Speaker 2: going to do whatever they can to silence you. I
• 1:27:38
  Speaker 2: have been there, and I have been there for things
• 1:27:40
  Speaker 2: other than I don't really want smut in my fiction.
• 1:27:43
  Speaker 2: I've been there for Hey, can we can we bring
• 1:27:46
  Speaker 2: to bring male victims of sexual AsSalt domestic violence palaritiy
• 1:27:50
  Speaker 2: all of these things. Can we actually have a conversation
• 1:27:53
  Speaker 2: about them? And I got a sure, and then boot
• 1:27:58
  Speaker 2: like sure in public and then boot in private. So
• 1:28:02
  Speaker 2: you know, this is this is the way it is.
• 1:28:04
  Speaker 2: You are going. You are now a you are now
• 1:28:08
  Speaker 2: a nail that needs to be hammered down by the sisterhood.
• 1:28:12
  Speaker 2: Don't blame this on men, and don't say this is
• 1:28:14
  Speaker 2: a universal thing that oh I'm just putting Saxon down. No,
• 1:28:17
  Speaker 2: that's not a universal thing. All right, all right, very.
• 1:28:24
  Speaker 3: Clearly, women's literature is not, you know, just some randomly
• 1:28:28
  Speaker 3: horny trend in the book industry. In that sense, outside
• 1:28:30
  Speaker 3: of a handful of odd entries here and there, women's
• 1:28:32
  Speaker 3: literature doesn't exist. Women haven't taken over the literary world.
• 1:28:36
  Speaker 3: A four letter word starting with P has taken over
• 1:28:38
  Speaker 3: the literary world.
• 1:28:40
  Speaker 2: Every other major nem about women are reading it, Yeah,
• 1:28:43
  Speaker 2: but women are the ones put in reading it.
• 1:28:46
  Speaker 1: You can say that if you want, women's literature doesn't exist, Well,
• 1:28:49
  Speaker 1: what are women reading? Looks like, that's their literature. I mean,
• 1:28:52
  Speaker 1: I know that they could do better than that, but
• 1:28:54
  Speaker 1: that's what's on offer, and it makes money. That's not
• 1:28:57
  Speaker 1: the fault of the people writing the books. That's the
• 1:29:01
  Speaker 1: fault of women for buying those books. Yeah, And then
• 1:29:05
  Speaker 1: like capitalism, it's like, well, no, that's it's out there,
• 1:29:10
  Speaker 1: like why are women drawn to that? Like that? Maybe
• 1:29:13
  Speaker 1: we should be talking about.
• 1:29:14
  Speaker 2: That, yes, And also how the heck can you say this,
• 1:29:21
  Speaker 2: like women take over publishing, like women now are publishing
• 1:29:27
  Speaker 2: and then suddenly porn there's no but there's no correlation.
• 1:29:30
  Speaker 2: It's just porn taking over publishing. No, it is women
• 1:29:35
  Speaker 2: pushing porn that have taken over publishing women and the
• 1:29:41
  Speaker 2: porn is actually the least of it. It's all the
• 1:29:44
  Speaker 2: freaking toxic attitudes that they have towards men, like take
• 1:29:48
  Speaker 2: some responsibility here. Yeah, I know you personally as a woman,
• 1:29:52
  Speaker 2: don't like this and don't and you you prefer the
• 1:29:55
  Speaker 2: older female fiction when men were the publishing gatekeeper, The
• 1:30:00
  Speaker 2: older female fiction when men were the publishing gatekeepers, that
• 1:30:04
  Speaker 2: had merit like plot, proper characterization, a desire to create authenticity,
• 1:30:11
  Speaker 2: meaningful and resonant themes, good dialogue. All of that kind
• 1:30:16
  Speaker 2: of storytelling merit that existed in female authors when men
• 1:30:20
  Speaker 2: were the gatekeepers is now gone because women aren't gatekeeping
• 1:30:27
  Speaker 2: they're not. They're just pushing whatever they think can sell,
• 1:30:30
  Speaker 2: whatever is easiest to produce, whatever gets the most eyeballs
• 1:30:35
  Speaker 2: on a page, as simple as that. Like, I have
• 1:30:39
  Speaker 2: this discussion with my editor because I'm writing a independent
• 1:30:44
  Speaker 2: hopefully independent you know you guys know the Captive, an
• 1:30:47
  Speaker 2: independent fantasy book sort of like science fiction fantasy but religious,
• 1:30:52
  Speaker 2: and I don't shy away from like, uh, sex scenes. Okay.
• 1:30:58
  Speaker 2: My editor talked about this and said, you know this
• 1:31:03
  Speaker 2: will this will get women to read your book. This
• 1:31:08
  Speaker 2: kind of stuff will get women. And I'm not putting
• 1:31:10
  Speaker 2: it in. I just write it when it seems like
• 1:31:13
  Speaker 2: it's relevant, right, But she said specifically, this will not
• 1:31:17
  Speaker 2: only get women to read your book, but it will
• 1:31:19
  Speaker 2: also get them to invest in it so that you
• 1:31:24
  Speaker 2: can have all of this other complexity because I have
• 1:31:27
  Speaker 2: a lot of uh I know, I know I'm going
• 1:31:29
  Speaker 2: to get it. I got I got world building and
• 1:31:34
  Speaker 2: some interesting stuff going on with like parallel dimensions, but
• 1:31:39
  Speaker 2: not like a multiverse kind of thing. Sorry, Brian, I
• 1:31:41
  Speaker 2: know that you don't particularly like that kind of thing,
• 1:31:44
  Speaker 2: but you you were like the or maybe it was
• 1:31:45
  Speaker 2: just the MCU multiverse that is a problematic.
• 1:31:49
  Speaker 1: I mean, I don't. I don't hate multiverses in it
• 1:31:52
  Speaker 1: in every context, but I think that they get they
• 1:31:55
  Speaker 1: become a lazy tool sometimes. But I mean, if you're
• 1:31:58
  Speaker 1: doing it, like it, and I'm sure it's fine.
• 1:32:01
  Speaker 2: Okay, let me put it this way.
• 1:32:02
  Speaker 1: I don't, I don't hate it's all.
• 1:32:04
  Speaker 2: Okay. Let me put it succinctly. Women have taken over
• 1:32:10
  Speaker 2: the publishing industry, and women like written porn. This is
• 1:32:17
  Speaker 2: not the porn industry taking over the publishing industry, unless
• 1:32:21
  Speaker 2: you are just going to ignore the causal relationship here.
• 1:32:26
  Speaker 2: This porn didn't happen in everything didn't happen prior to
• 1:32:31
  Speaker 2: women taking over the publishing industry. It didn't happen when
• 1:32:34
  Speaker 2: the men were the gatekeepers. And yes, I've actually watched this.
• 1:32:37
  Speaker 2: I know she goes into like fiction writers who had
• 1:32:42
  Speaker 2: sexual content in their novels. I've read a lot of them.
• 1:32:46
  Speaker 2: It's not that, and usually there's a serious there's an
• 1:32:50
  Speaker 2: actual reason for it to be there. It's not this.
• 1:32:53
  Speaker 2: It is not this like a fiction writer putting sexual
• 1:32:58
  Speaker 2: content in his no like Ulysses, which is possibly the
• 1:33:02
  Speaker 2: most grating unreadable thing ever, But it's not like this.
• 1:33:07
  Speaker 2: It isn't this is this is sexual content to make
• 1:33:11
  Speaker 2: a point. This is the point is the sexual content,
• 1:33:15
  Speaker 2: and we have to face this. When women took over
• 1:33:19
  Speaker 2: the the publishing industry, it became porn. And again it's
• 1:33:23
  Speaker 2: not the porn taking over the publishing industry, it's women
• 1:33:27
  Speaker 2: then turning it into porn. And part of it is,
• 1:33:31
  Speaker 2: again we don't tell women your sexuality doesn't belong there,
• 1:33:36
  Speaker 2: because what's that that's silencing them. That's patriarchal imposition. That's uh,
• 1:33:43
  Speaker 2: that's uh, that's the worst thing you could do. And
• 1:33:46
  Speaker 2: it causes babies to spontaneously die and cats to get
• 1:33:51
  Speaker 2: cat poks. I don't know, you know, so anyway, let's
• 1:33:56
  Speaker 2: keep I just it's like, I'm averse to this women
• 1:34:00
  Speaker 2: of responsibility here, Okay, I get it.
• 1:34:05
  Speaker 3: In a bookseller, especially all those new romance bookshops have
• 1:34:09
  Speaker 3: now just become another kind of adult entertainment store. And no,
• 1:34:13
  Speaker 3: that's not a good thing. Now, I know what you
• 1:34:15
  Speaker 3: might be thinking. This is not triple X adult entertainment.
• 1:34:18
  Speaker 3: This is you are actually incorrect. For a man, average man,
• 1:34:22
  Speaker 3: I don't know, reading an explicit depiction of a sex
• 1:34:24
  Speaker 3: act might not really get the job done. Men typically
• 1:34:27
  Speaker 3: tend to gravitate towards seeing the act on the screen
• 1:34:30
  Speaker 3: in one form or another. Women have always, on average,
• 1:34:33
  Speaker 3: preferred to read it. Even if some do end up
• 1:34:36
  Speaker 3: hooked on the filmed version, the female mind has pretty
• 1:34:39
  Speaker 3: much the same reaction generally speaking, to the written version.
• 1:34:42
  Speaker 3: In fact, written erotic content tends to have even more
• 1:34:45
  Speaker 3: of an impact on the minds of women than filmed
• 1:34:47
  Speaker 3: arotic content. Why because men and women engage with media
• 1:34:51
  Speaker 3: in fundamentally different ways. When it comes to adult entertainment,
• 1:34:55
  Speaker 3: You're simple, straightforward to people, banging video isn't really going
• 1:34:58
  Speaker 3: to do much of anything for a woman, generally speaking.
• 1:35:01
  Speaker 3: There have been numerous studies done regarding female sexuality or
• 1:35:04
  Speaker 3: the differences between male and female arousal, and generally across
• 1:35:08
  Speaker 3: the board. They'll tell you that women require what is
• 1:35:10
  Speaker 3: sometimes called mental mapping to be sexually aroused. That is,
• 1:35:14
  Speaker 3: there needs to be more sorry and more opportunity for
• 1:35:17
  Speaker 3: her to feel empathy. That's just how it is for
• 1:35:20
  Speaker 3: a woman.
• 1:35:21
  Speaker 2: Uh, I think it's actually more controlling than that. It's
• 1:35:26
  Speaker 2: more opportunity to have a male character that embodies the
• 1:35:33
  Speaker 2: precise emotional makeup and mental makeup and success qualities that
• 1:35:40
  Speaker 2: she desires. I don't think that's really empathy. Certainly, not
• 1:35:43
  Speaker 2: empathy towards the male character, because he's just a cipher.
• 1:35:47
  Speaker 2: Maybe empathy towards the female character. Although when I read romance,
• 1:35:51
  Speaker 2: I couldn't stand a lot of the female characters. I
• 1:35:54
  Speaker 2: tended towards us, you know, my niche was more. Oh,
• 1:36:01
  Speaker 2: I guess it would have been more like having your
• 1:36:04
  Speaker 2: more bromance, except with men and women, if that makes sense.
• 1:36:09
  Speaker 2: Like you, well, one of the ones that I really
• 1:36:12
  Speaker 2: liked was this this female character who was she was
• 1:36:16
  Speaker 2: in a like a supposedly patriarchal culture, but she acknowledged
• 1:36:19
  Speaker 2: that she could get away with more because of that,
• 1:36:22
  Speaker 2: And she ended up meeting up with a captive scientist
• 1:36:26
  Speaker 2: who had been subject to a lobotomy of some court
• 1:36:30
  Speaker 2: kind in order to keep him. He was imprisoned, but
• 1:36:34
  Speaker 2: he was still very intelligent. They wanted to work on
• 1:36:36
  Speaker 2: and she was also a scientist, and she ended up
• 1:36:38
  Speaker 2: working with him and they developed a relationship, and then
• 1:36:42
  Speaker 2: she sort of realized the full extent of his captivity
• 1:36:45
  Speaker 2: and she went out of her way to try to
• 1:36:49
  Speaker 2: save him from that situation. And it was actually a
• 1:36:51
  Speaker 2: pretty harrowing story of her like dragging him out of this,
• 1:36:55
  Speaker 2: like getting him to escape and then keeping him in
• 1:37:01
  Speaker 2: like anonymity whilst she's trying to get him out of
• 1:37:06
  Speaker 2: away from these people, and I mean he's doing he's
• 1:37:10
  Speaker 2: trying to help too, but he's like in a situation
• 1:37:12
  Speaker 2: where because of the what's been done to his mind,
• 1:37:15
  Speaker 2: he's not fully aware. And at the end, what she
• 1:37:19
  Speaker 2: gets from like months and months and months of dodging
• 1:37:24
  Speaker 2: the authorities and trying to find the ability to support
• 1:37:30
  Speaker 2: them and all of this other stuff is that she
• 1:37:33
  Speaker 2: finally gets him to a rehabilitation home. He doesn't remember her,
• 1:37:37
  Speaker 2: so they have to reconstruct potentially, like she can't necessarily
• 1:37:43
  Speaker 2: expect they're going to have a romance after this, but
• 1:37:45
  Speaker 2: they have to reconstruct this or she has the ability
• 1:37:48
  Speaker 2: that he's safe now that maybe they can have a
• 1:37:50
  Speaker 2: friendship or maybe a romance or something. But everything has
• 1:37:54
  Speaker 2: been erased. And it was actually pretty pretty cool story,
• 1:37:58
  Speaker 2: very very compelling, But I would I would call that
• 1:38:02
  Speaker 2: more on the edge of romance than romance, because you
• 1:38:07
  Speaker 2: could have just replaced the woman with a man trying
• 1:38:10
  Speaker 2: to save another dude that was his friend, right, and
• 1:38:15
  Speaker 2: a lot of the emotional beats would have been the same,
• 1:38:17
  Speaker 2: but it was a romance, so I mean, there's there's
• 1:38:20
  Speaker 2: some differences. Like a man. She explicitly says a lot
• 1:38:23
  Speaker 2: of the stuff that she gets away with she wouldn't
• 1:38:26
  Speaker 2: have if she was a man, and she knew that
• 1:38:28
  Speaker 2: to her advantage. And then she's also helped. This was
• 1:38:32
  Speaker 2: really interesting. This is the first romance where where secondary
• 1:38:36
  Speaker 2: male characters are not like lascivious tentacle monsters trying to
• 1:38:41
  Speaker 2: touch the oh you're the female character, but they were
• 1:38:45
  Speaker 2: actually helping her and him to get out of this situation.
• 1:38:50
  Speaker 2: So I was that was it. That's the kind of
• 1:38:52
  Speaker 2: thing that I really liked, not the usual romance. Fair
• 1:38:56
  Speaker 2: but but anyway, I know that you're looking at the time,
• 1:39:00
  Speaker 2: so let's let's finish this up. Is there anything else,
• 1:39:03
  Speaker 2: like a main point that you feel like she made?
• 1:39:09
  Speaker 1: Well, I can go to statistics on female authors and readers.
• 1:39:14
  Speaker 2: How about that made a point in the vertical chat
• 1:39:16
  Speaker 2: that I think it might be worth bringing up only
• 1:39:19
  Speaker 2: fans then this is absolutely right. OnlyFans was not porn
• 1:39:24
  Speaker 2: until women got in it and made it porn, but
• 1:39:27
  Speaker 2: made it synonymous with porn. It used to be just
• 1:39:30
  Speaker 2: if you had something that you could do, you could
• 1:39:35
  Speaker 2: you had a platform to present it to your fans.
• 1:39:38
  Speaker 2: Wasn't explicitly porn So I mean, you said, you might
• 1:39:44
  Speaker 2: say that porn took over, but it always seems like
• 1:39:47
  Speaker 2: the women go first and then the porn comes.
• 1:39:52
  Speaker 1: Anyway, then the porn comes.
• 1:40:01
  Speaker 2: I guess that could be considered sort of a very
• 1:40:03
  Speaker 2: very weak pun.
• 1:40:06
  Speaker 1: Okay plan, this.
• 1:40:08
  Speaker 3: Of women taking over literature. I definitely see the point,
• 1:40:12
  Speaker 3: but I was curious if that was true, so I
• 1:40:15
  Speaker 3: took to the internet. The percentage of female authors as
• 1:40:17
  Speaker 3: of twenty nineteen, which was the most recent number I
• 1:40:20
  Speaker 3: could find any further statistics were likely behind this mother
• 1:40:23
  Speaker 3: of all paygates, was fifty point five percent, which was
• 1:40:27
  Speaker 3: also fairly steady from twenty ten to twenty nineteen. The
• 1:40:31
  Speaker 3: percentage of female editors as of twenty twenty one was
• 1:40:33
  Speaker 3: sixty seven percent. Funnily enough, that's not that big of
• 1:40:37
  Speaker 3: an increase from twenty ten, when the number was sixty
• 1:40:39
  Speaker 3: four percent. The percentage of female literary agents as a
• 1:40:42
  Speaker 3: twenty twenty one was fifty eight percent, which is actually
• 1:40:44
  Speaker 3: a decline from twenty ten, when the number was sixty
• 1:40:47
  Speaker 3: four percent. So that's people. Now, what about the books
• 1:40:51
  Speaker 3: that are actually being read. Let's look at the New
• 1:40:53
  Speaker 3: York Times bestseller list for the last four and a
• 1:40:55
  Speaker 3: half years. In twenty twenty, out of thirty four best
• 1:40:58
  Speaker 3: selling authors, sixteen were women. In twenty twenty one, twenty
• 1:41:02
  Speaker 3: one out of thirty seven were women. In twenty twenty two,
• 1:41:04
  Speaker 3: twelve out of twenty two were women. In twenty twenty three,
• 1:41:07
  Speaker 3: eleven out of twenty four, in twenty twenty four, seventeen
• 1:41:10
  Speaker 3: out of thirty two, and so far in twenty twenty five,
• 1:41:12
  Speaker 3: it's been about eight out of thirteen. The point of
• 1:41:16
  Speaker 3: all these numbers is to say that statistically, women don't
• 1:41:19
  Speaker 3: dominate the literary world. That said, in many ways, the
• 1:41:22
  Speaker 3: numbers here don't quite represent their reality. No matter what
• 1:41:25
  Speaker 3: the numbers say for best sellers, if you actually look
• 1:41:27
  Speaker 3: at the list, you can see that romance, especially smutty
• 1:41:31
  Speaker 3: romance and romanticy dominate huge blocks of the calendar, and
• 1:41:35
  Speaker 3: a lot of these female writers have female agents, and
• 1:41:38
  Speaker 3: obviously readers of these books will be predominantly female.
• 1:41:41
  Speaker 2: Okay, just anoping career, there are still the same male
• 1:41:48
  Speaker 2: authors that dominate the best sellers. So Stephen King, Brandon Sanderson,
• 1:41:53
  Speaker 2: trying to think of there's probably more, but I can't
• 1:41:56
  Speaker 2: think of them off.
• 1:41:57
  Speaker 1: The tiah Like the same men that were being the
• 1:42:00
  Speaker 1: charts before are still Yeah, they say, men.
• 1:42:02
  Speaker 2: There's topping the charts like twenty years ago or still
• 1:42:04
  Speaker 2: topping the charts, right, So you're not going like they're
• 1:42:10
  Speaker 2: basically almost independents now, they're independent of the publishing industry.
• 1:42:15
  Speaker 2: So to look at that and say, oh, well, look
• 1:42:17
  Speaker 2: at these men, no, they.
• 1:42:19
  Speaker 1: Are what she's what she's trying to say, is not
• 1:42:22
  Speaker 1: she's saying that the number of women editors, writers and
• 1:42:27
  Speaker 1: so on hasn't changed much. But when you look at
• 1:42:30
  Speaker 1: what women are reading, then most of the top books
• 1:42:36
  Speaker 1: being read by women are those smutty pornographic novels that
• 1:42:43
  Speaker 1: are written edited and well, I forget the other thing,
• 1:42:48
  Speaker 1: like written and edited by women primarily. So even though
• 1:42:52
  Speaker 1: there are, yes, you know, there are still male writers
• 1:42:55
  Speaker 1: as well, and it looks like it's more or less
• 1:42:57
  Speaker 1: the same. Like there it's so the forty eight to
• 1:43:00
  Speaker 1: fifty two, I mean, that's that's sort of like basically
• 1:43:03
  Speaker 1: a split. But what it's what matters is what are
• 1:43:08
  Speaker 1: women reading and what are men reading. That's what's different, right,
• 1:43:12
  Speaker 1: Women are reading the smut. Men are reading a variety
• 1:43:14
  Speaker 1: of things, horror, suspense, you know, women are reading true
• 1:43:18
  Speaker 1: crime too. But if you can like make both of
• 1:43:21
  Speaker 1: those things fit together, then yeah, that'll probably be even better.
• 1:43:24
  Speaker 1: So but I think that ultimately it's what women are
• 1:43:27
  Speaker 1: reading more than sort of trying to say something about
• 1:43:31
  Speaker 1: like the balance.
• 1:43:33
  Speaker 2: So yeah, and what women are reading is determining what's
• 1:43:36
  Speaker 2: being published. I'm sorry, Like I go to a bookstore
• 1:43:40
  Speaker 2: now and it's wall to wall romanticy. That isn't because
• 1:43:43
  Speaker 2: of men, it's because of women. And you can look
• 1:43:47
  Speaker 2: at the stats of and the other thing is that
• 1:43:49
  Speaker 2: a lot of those those agents and publishers, it's declining
• 1:44:00
  Speaker 2: and they are representing again that old guard of men.
• 1:44:05
  Speaker 2: What's going to happen when these men die off, Like
• 1:44:08
  Speaker 2: who are they going to be replaced with? There's no
• 1:44:10
  Speaker 2: young men becoming these big stars. So I mean, right
• 1:44:14
  Speaker 2: now you can say, well, look at these men, they
• 1:44:17
  Speaker 2: represent half of the published books. Yeah, but they are
• 1:44:23
  Speaker 2: in a way completely separate from the publishing industry at
• 1:44:26
  Speaker 2: this point. They're so big that they exist independently in
• 1:44:29
  Speaker 2: a way, Like if Brandon Sanderson, and I think he
• 1:44:32
  Speaker 2: has done this, said, you know what, I'm not even
• 1:44:33
  Speaker 2: going to publish through the publishing industry. Nothing would change
• 1:44:37
  Speaker 2: for him. You know, if Stephen King did that, nothing
• 1:44:40
  Speaker 2: would change for him. Any of the other big male
• 1:44:43
  Speaker 2: names did that, nothing would change for them, because they've
• 1:44:46
  Speaker 2: built such a platform for themselves that they are completely independent.
• 1:44:50
  Speaker 2: So saying that oh, they represent they don't. They represent
• 1:44:54
  Speaker 2: nothing in the publishing industry at this point. Like that's
• 1:44:58
  Speaker 2: what I'm trying to get at, Brian, Yeah, yeah, the
• 1:45:01
  Speaker 2: the publishing industry doesn't. They exist independent of it, right, So,
• 1:45:10
  Speaker 2: and the publishing houses that represent them in a way,
• 1:45:15
  Speaker 2: because they have these big names, exist independent of the
• 1:45:19
  Speaker 2: upcoming pressures which are pushed by the female audience. Okay,
• 1:45:26
  Speaker 2: so the rising stars, the ones that we're going to
• 1:45:28
  Speaker 2: see in another ten years, are going to be the
• 1:45:31
  Speaker 2: women writing smut. And as these men die off, the
• 1:45:35
  Speaker 2: numbers of men on the best selling list is going
• 1:45:38
  Speaker 2: to be it's going to go down to like what
• 1:45:42
  Speaker 2: you know, it's going to progressively decline, and the entire
• 1:45:45
  Speaker 2: they again, they're not really part of the publishing industry.
• 1:45:49
  Speaker 2: So the publishing industry has already taken over been completely
• 1:45:53
  Speaker 2: saturated with smut from the female that the female audience
• 1:45:57
  Speaker 2: wants and what the publishing publishing industry is encouraging. So
• 1:46:03
  Speaker 2: what they're planting in their little fields of writers is
• 1:46:07
  Speaker 2: more smut. And once those big names, the big male names,
• 1:46:11
  Speaker 2: die off, it's going to all be it. It's gonna
• 1:46:14
  Speaker 2: like there's not going to be anything but smut because
• 1:46:18
  Speaker 2: the publishing industry is that's all. It's that's all it's
• 1:46:21
  Speaker 2: planting as female authors that do this right, yep, defeat
• 1:46:29
  Speaker 2: a female audience and to ignore the fact that this
• 1:46:32
  Speaker 2: is a female audience that's pushing it, and that when
• 1:46:35
  Speaker 2: the gatekeeper cease to be male and predominantly male, this
• 1:46:39
  Speaker 2: is what happened. I don't know why you need to
• 1:46:42
  Speaker 2: do it, but just just just blame women. When you
• 1:46:45
  Speaker 2: get on the other side of the blame women chasm,
• 1:46:49
  Speaker 2: it's so much more relaxing. It's like I don't have
• 1:46:53
  Speaker 2: to do all of these gymnastics to say women aren't
• 1:46:55
  Speaker 2: to blame. I can just blame them. I haven't imploded,
• 1:47:01
  Speaker 2: I blame women. Look, I haven't imploded. I haven't spontaneously combusted,
• 1:47:07
  Speaker 2: I haven't evaporated, like I.
• 1:47:09
  Speaker 1: Still exist lightning has not struck you down.
• 1:47:13
  Speaker 2: Yeah, oh jeez, I guess they aren't. God, I haven't
• 1:47:19
  Speaker 2: been turned into a pillar of salt.
• 1:47:22
  Speaker 1: Okay, all right, sorry, but I'm my time's up, all right, Yes, okay, So.
• 1:47:29
  Speaker 2: I think that's good enough. I mean, maybe I'm misrepresented.
• 1:47:32
  Speaker 2: I remember watching this and being irritated by this analysis.
• 1:47:36
  Speaker 2: Sometimes I think that she's on point. Sometimes I think
• 1:47:40
  Speaker 2: she just misses it. But uh so, if I've misrepresented her,
• 1:47:45
  Speaker 2: please watch the original. Don't just take my word for it.
• 1:47:49
  Speaker 2: And uh yeah, okay, So again, we looks like Brian's
• 1:47:53
  Speaker 2: gotta go because he's got a hard deadline. So sorry,
• 1:47:57
  Speaker 2: that's okay. It's not your fault. It's sort of my
• 1:47:59
  Speaker 2: fault for wittering and then having all this other crap.
• 1:48:02
  Speaker 2: That's Oh, just a reminder. We are doing our meetup
• 1:48:05
  Speaker 2: September thirteenth. That's next week in a week, which is
• 1:48:09
  Speaker 2: what a week means, right, So it's gonna be in Calgary, Alberta, Canada.
• 1:48:12
  Speaker 2: If you're interested, go to feed the feed The Badger
• 1:48:15
  Speaker 2: Slash Events has all the information except not making the
• 1:48:19
  Speaker 2: venue public. If you are interested in coming, you do
• 1:48:22
  Speaker 2: have to RSVP at Badger at feed the Badger dot
• 1:48:25
  Speaker 2: com which is also at that location. And once again,
• 1:48:29
  Speaker 2: big thank you to Janice for putting in one k
• 1:48:34
  Speaker 2: pretty pretty crap, pretty great. And also a big thanks
• 1:48:39
  Speaker 2: to everybody else who's supported you'll Clee recently. Richard also
• 1:48:43
  Speaker 2: helps us out. And thank you to Richard for these suggestions.
• 1:48:46
  Speaker 2: They've been very different. I'll say that they're different. It's
• 1:48:50
  Speaker 2: like we're looking at the normy mind today rather than
• 1:48:53
  Speaker 2: the screeching feminist harpy mind. And if you have any
• 1:48:58
  Speaker 2: anything you want to send us, you want to send
• 1:49:00
  Speaker 2: us a tip, you can send a message with that
• 1:49:02
  Speaker 2: tip at feed Thebadger dot com slash just the tip.
• 1:49:05
  Speaker 2: Let's feed the Badger dot com slash just the tip,
• 1:49:07
  Speaker 2: and I will hand this back to Brian.
• 1:49:09
  Speaker 1: All right, well, thank you so much. If you guys
• 1:49:13
  Speaker 1: liked this video, please hit like subscribe if you're not
• 1:49:15
  Speaker 1: already subscribed to the belfltifications, leave us a comment. Let
• 1:49:19
  Speaker 1: us know when you guys think about what we discussed
• 1:49:20
  Speaker 1: on the show today. Have you read The Wheel of Time?
• 1:49:23
  Speaker 1: Do you have any thoughts on this? Have you watched
• 1:49:26
  Speaker 1: the show? How do you think they compare? Let us know,
• 1:49:29
  Speaker 1: because I'm not gonna watch it, but i'd be curious
• 1:49:33
  Speaker 1: about Please please share this video because sharing is caring.
• 1:49:37
  Speaker 1: Thank you guys so much for coming on today's episode
• 1:49:40
  Speaker 1: of Maintaining Frame, and I'll talk to you guys in
• 1:49:42
  Speaker 1: the next