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Reject Lysistrata, return to Madea · Honey Badger Radio

• 0:00
  Speaker 1: Okay, and we're live. Hello everending, Welcome to Honey Badger Radio.
• 0:05
  Speaker 1: My name is Brian. I'm here with Alison and Til Deer.
• 0:08
  Speaker 1: And this is maintaining Frame or whatever it is that
• 0:10
  Speaker 1: we called it where I didn't. I didn't change the title.
• 0:15
  Speaker 1: I just called it reject Lysistrarada, Let's Strata Return to Medea.
• 0:22
  Speaker 1: Where we're gonna be It's gonna be a little bit
• 0:25
  Speaker 1: of a I guess, like a different kind of show.
• 0:28
  Speaker 1: We're we're gonna be looking at this video from a
• 0:30
  Speaker 1: channel called a Collier also, and I guess it's a
• 0:36
  Speaker 1: book channel. She's part of book Tube or something, and
• 0:40
  Speaker 1: so she talks about fiction and she made a video
• 0:45
  Speaker 1: called why be Lyceus Strata when you could be Medea?
• 0:51
  Speaker 1: And this is basically about Greek myths. I don't know,
• 0:53
  Speaker 1: like how learned you are on that. I used to
• 0:57
  Speaker 1: be a big fan of Greek myths, but I don't
• 1:00
  Speaker 1: think I read these because I think Lesistrata was kind
• 1:04
  Speaker 1: of a you know, maybe a little bit explicit considering
• 1:08
  Speaker 1: the contents. But yeah, so we're gonna be going through this,
• 1:12
  Speaker 1: and uh, I want to thank teal Deer for coming.
• 1:15
  Speaker 1: I hope that your audio situation is fixed now because
• 1:18
  Speaker 1: you kind of dropped out. Oh oh okay, no, you're good,
• 1:23
  Speaker 1: You're good.
• 1:23
  Speaker 2: No.
• 1:24
  Speaker 1: I just thought it sounded like something clicked, like you
• 1:26
  Speaker 1: got cut off mid sentence, and then you were quiet
• 1:28
  Speaker 1: after that.
• 1:32
  Speaker 3: Now that that might just be me being quiet anyway.
• 1:34
  Speaker 1: All right, okay, okay, well yeah, so we're gonna be
• 1:38
  Speaker 1: getting into that, Allison, do the things so we can
• 1:41
  Speaker 1: get started.
• 1:42
  Speaker 4: Sure, Sure, and then I'll maybe give a pointed summary
• 1:46
  Speaker 4: of comparing liceus trata lysistrata to mideia. All Right, So
• 1:56
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• 3:42
  Speaker 4: tearing this stuff apart. So those are the options they're
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• 3:48
  Speaker 4: choose one there instead of just typing it in. And
• 3:52
  Speaker 4: I just want to point out that she's saying that
• 3:55
  Speaker 4: we should reject list to the slice the sister. Okay,
• 4:04
  Speaker 4: this is gonna this is gonna kill me. Say it, Brian,
• 4:06
  Speaker 4: I believe.
• 4:07
  Speaker 1: It's pronounce Lysus.
• 4:09
  Speaker 4: Strata Lysis strata for Medeia.
• 4:14
  Speaker 1: Yeah, and Medea's actually pronounced Medea Medea, not Medea. Medea
• 4:19
  Speaker 1: is the name of the character that Tyler Perry plays
• 4:21
  Speaker 1: in all those plays, but I assume based on this
• 4:25
  Speaker 1: but mispronounced, so it's Medea.
• 4:28
  Speaker 4: And ironically, because both could be considered sort of feminist,
• 4:32
  Speaker 4: Lysis Strata proposes a sex strike to end a war
• 4:36
  Speaker 4: and takes over the apocryp Acropolis's treasury in order to
• 4:41
  Speaker 4: stop the war, and she ends up stopping a war.
• 4:45
  Speaker 4: But instead of that form of feminism, we don't want that,
• 4:47
  Speaker 4: we want the feminism that involves killing children. Yes, because
• 4:52
  Speaker 4: because that that's where that's where we're at. Guys. I
• 4:56
  Speaker 4: remember last week I very naively said, oh, the next
• 4:59
  Speaker 4: stage feminism is going to be justifying women's abuse of children,
• 5:03
  Speaker 4: like and then someone pointed out in the comments that
• 5:06
  Speaker 4: were already there and been there for decades, like, you're right, Wow,
• 5:10
  Speaker 4: I did not realize that I had any shred of
• 5:13
  Speaker 4: optimism about this movement left. Well, it was squashed. So
• 5:17
  Speaker 4: that's that's what we're gonna be discussing today. Feminism excusing
• 5:20
  Speaker 4: the abuse of children, specifically the murder of children. Right,
• 5:24
  Speaker 4: it's a charming topic. So let's get into it, all.
• 5:28
  Speaker 1: Right, Well, uh so you just want me to play
• 5:30
  Speaker 1: it just just yeah, sure.
• 5:32
  Speaker 5: Let's just start it.
• 5:33
  Speaker 4: Let's see if she has vocal for I didn't actually
• 5:35
  Speaker 4: listen to oh.
• 5:36
  Speaker 1: You know what thought the beginning of this is a
• 5:38
  Speaker 1: lot of like, oh, my hair, all the lighting. Let's
• 5:41
  Speaker 1: just let's just get in it.
• 5:45
  Speaker 3: Let's set the characters. We just skip to this so
• 5:47
  Speaker 3: that I can uh well, I'll just do some things
• 5:50
  Speaker 3: if I may. Okay, I just I just want to say, like,
• 5:55
  Speaker 3: I mean, my hair today, it's it's just it's been
• 5:57
  Speaker 3: a nightmare. It's really awful, you know, just like it
• 6:00
  Speaker 3: keeps falling into my eyes. I really should have Hey, yeah, no,
• 6:03
  Speaker 3: I'm doing stuck with the mockery now. So going to
• 6:06
  Speaker 3: the point of you thought that you might have some
• 6:10
  Speaker 3: hope for feminism not being just about we should murder children.
• 6:15
  Speaker 3: Did you forget the Anne Wilson schaf book and how
• 6:17
  Speaker 3: women hate and resent their children because it gives them
• 6:20
  Speaker 3: material purpose, and the point of removing that material purpose
• 6:25
  Speaker 3: was so that they can do their spiritual transcendence thing.
• 6:28
  Speaker 3: And how if you go back into the eighteen hundreds,
• 6:31
  Speaker 3: and how spirituality moved from communal into the home, and
• 6:34
  Speaker 3: how women stayed in the home and became the spiritual
• 6:38
  Speaker 3: center of the home. How abortion ended up becoming sacred
• 6:41
  Speaker 3: because it allowed children's spirits to bypass the corruption of
• 6:45
  Speaker 3: the mortal world and go into heaven and look down
• 6:48
  Speaker 3: upon the women their mothers who aborted them in the womb,
• 6:51
  Speaker 3: with their superhuman love for their mothers by saying, oh,
• 6:55
  Speaker 3: you aborted me, so now I can just go straight
• 6:58
  Speaker 3: to God, you know. So all and then became Mary
• 7:01
  Speaker 3: and all of their aborted children became the new personal
• 7:03
  Speaker 3: Christ figures in their life. Did you forget all of
• 7:06
  Speaker 3: that or I slipped your mind? I suppose why was
• 7:12
  Speaker 3: there any hope for this movement more broadly? After you
• 7:15
  Speaker 3: know that that's part of their cannon.
• 7:21
  Speaker 1: Yeah, Alison, how did you not know that that was
• 7:24
  Speaker 1: well mostly charges woman, Allison, are you fighting with them?
• 7:31
  Speaker 1: You button again?
• 7:33
  Speaker 4: Yeah, it slipped my mind. I did not realize that
• 7:36
  Speaker 4: my mind had a drift towards naive optimism. I shall
• 7:38
  Speaker 4: now correct that and resume the course of cynicism. But yeah,
• 7:45
  Speaker 4: that's uh.
• 7:46
  Speaker 3: That's prettyoly. Forgot that feminism is actually just grim dark.
• 7:51
  Speaker 4: Yeah, I momentarily extended it some courtesy and good faith.
• 7:57
  Speaker 4: I will not make that mistake again. Thank you for
• 8:00
  Speaker 4: and it's for correcting me, all right, So shall we?
• 8:05
  Speaker 4: I say, show it?
• 8:06
  Speaker 3: Because it's a I was gonna go very briefly though,
• 8:11
  Speaker 3: because well casually mentioned madea a couple of weeks ago,
• 8:16
  Speaker 3: and Alison squirrels away and comes back with this crap
• 8:20
  Speaker 3: that we're about to watch, because why not, I did
• 8:24
  Speaker 3: neglect to tell people how the story of Medea actually ends.
• 8:30
  Speaker 3: So after she has killed Jason's new bride that he
• 8:35
  Speaker 3: had to get for political reasons because his kingdom would
• 8:39
  Speaker 3: get wrecked otherwise, after she killed his new wife, and
• 8:44
  Speaker 3: after she murdered her children her I can't remember his
• 8:50
  Speaker 3: uncle or grandfather, one of them who happens to be
• 8:53
  Speaker 3: you know, yeah, just you know, completely casual connection there
• 8:59
  Speaker 3: sends her a whying chariot and she literally flies off
• 9:02
  Speaker 3: into the sunset.
• 9:03
  Speaker 1: After doing that, Sharrett ledberb pulled by dragons.
• 9:07
  Speaker 3: Yep, just hey, you you your your golden goal. You
• 9:11
  Speaker 3: know you did all of this. That's that's say, Okay,
• 9:14
  Speaker 3: this is of course where feminists get there. Oh she's
• 9:17
  Speaker 3: secretly an icon thing. She didn't do nothing wrong when
• 9:20
  Speaker 3: she killed things. Never mind that you might be able
• 9:23
  Speaker 3: to make a case of, oh, well, Jason broke some
• 9:26
  Speaker 3: sort of vow and therefore, in that light, she did
• 9:30
  Speaker 3: nothing wrong. But I think that's a bit more of
• 9:35
  Speaker 3: a stretch. I think we're just probably looking at a
• 9:38
  Speaker 3: guynocentric reading from even all the way back then, because
• 9:42
  Speaker 3: let's be honest, humans don't change. Humans are human, no
• 9:47
  Speaker 3: matter when they are.
• 9:48
  Speaker 4: Humans never change. Well, there's there's multiple readings, Like I
• 9:54
  Speaker 4: looked it up and Aristotle said it was a structural
• 9:57
  Speaker 4: fault in the play. It could als will be considered
• 10:00
  Speaker 4: to be more of an existential horror. In other words,
• 10:03
  Speaker 4: she's not held accountable by human law. She's taken to
• 10:07
  Speaker 4: a place where she can't be held accountable, she can't
• 10:10
  Speaker 4: be judged. And then the audience and presumably Jason, as
• 10:16
  Speaker 4: the audience is surrogate, has is left holding this horror,
• 10:24
  Speaker 4: and it could be a cautionary tale against breaking oaths
• 10:27
  Speaker 4: because the Greeks were really big on oath breaking. So
• 10:31
  Speaker 4: it's not a matter of Medea getting her like being absolved.
• 10:37
  Speaker 4: It's more of a matter of taking her beyond where
• 10:39
  Speaker 4: she can be touched in order to emphasize the horror
• 10:44
  Speaker 4: of it. So it's it's a condemnation of Jason's breaking oaths,
• 10:48
  Speaker 4: but not a exoneration of Medea. So that's that's one reading. Well,
• 10:58
  Speaker 4: you know, Greeks probably couldn't foresee, you know, modern feminism
• 11:03
  Speaker 4: and how a structural failure, according to Aristotle would be
• 11:09
  Speaker 4: turned into a exoneration of this character and her behavior.
• 11:15
  Speaker 4: All right, let's uh, shall we? I say, let's listen
• 11:19
  Speaker 4: to Let's listen to how she wants to present herself
• 11:22
  Speaker 4: outside of her thought sphere, because that, for me as
• 11:27
  Speaker 4: as a woman, that's interesting information. I think it's it is,
• 11:31
  Speaker 4: it does have its own importance. We don't have to
• 11:34
  Speaker 4: watch much though you can skip it.
• 11:37
  Speaker 1: Yeah, I mean she gets into it relatively quickly, and
• 11:39
  Speaker 1: it's well, let's just listen.
• 11:41
  Speaker 2: I guess it feels like it's too dark in here,
• 11:44
  Speaker 2: but like, we live in a dark world, so it's fun.
• 11:52
  Speaker 1: Are you when you can be medea? Okay, yeah, but.
• 11:56
  Speaker 4: Like right right off the bat, it's dark in here,
• 12:00
  Speaker 4: we'll turn on the light. This is within your own power.
• 12:04
  Speaker 4: Like she's really setting this entire thing up right off
• 12:07
  Speaker 4: this and this is just completely unconscious, just this she's
• 12:10
  Speaker 4: setting up how she thinks about the world. She has
• 12:14
  Speaker 4: full control over how light it is in her space,
• 12:18
  Speaker 4: and yet she has become a victim of the darkness.
• 12:21
  Speaker 4: She disavows responsibility over her own state. And she says,
• 12:27
  Speaker 4: I'm disavowing responsibility because it's because the world is dark.
• 12:32
  Speaker 4: Therefore I'm going to exist in darkness and I'm going
• 12:35
  Speaker 4: to be a victim of my own inability to turn
• 12:37
  Speaker 4: on the light because the world itself is patriarchy, and
• 12:40
  Speaker 4: patriarchy makes us live in darkness. This is actually encapsulating
• 12:43
  Speaker 4: right here her primary psychological or sophiest move throughout this
• 12:48
  Speaker 4: entire this entire monologue, this monologue, this entire essay, verbal
• 12:58
  Speaker 4: video essay. What do we call this extended mental weepings?
• 13:05
  Speaker 1: Like what is this tube stuff? Isn't it? It's just
• 13:09
  Speaker 1: talking about books. Now, I looked at her channel real
• 13:13
  Speaker 1: quick before we get into this, I just want to
• 13:14
  Speaker 1: say I looked at her channel, and it's not an
• 13:17
  Speaker 1: activist channel. She just talks about reading. She just talks
• 13:21
  Speaker 1: about books and like really like relatively benign stuff. Right.
• 13:28
  Speaker 1: She likes to knit and so she has videos about knitting,
• 13:31
  Speaker 1: and she talks about different kinds of books, not feminist books.
• 13:36
  Speaker 1: She's not an activist, is what I'm saying. Not an activist.
• 13:39
  Speaker 1: But but this is like interesting because it's a look
• 13:43
  Speaker 1: at her default factory settings. When it comes to her
• 13:48
  Speaker 1: thoughts about basically the sexual dynamics, it's by default she's
• 13:54
  Speaker 1: in the position because it's not necessarily an ideology that
• 13:59
  Speaker 1: you adopt. It's something that you just internalize, and in
• 14:04
  Speaker 1: modernity it is the norm. It is the norm for
• 14:08
  Speaker 1: most people. So she doesn't have to be like, oh,
• 14:11
  Speaker 1: I read Belle Hooks and this is what I think
• 14:13
  Speaker 1: or this is here are my thoughts on Julie Bindle.
• 14:16
  Speaker 1: She doesn't read any of those things. She's just a
• 14:19
  Speaker 1: normal late twenties, you know, millennial whatever, zoomer. I'm not
• 14:24
  Speaker 1: sure what late twenties is. I guess zoomer girl who
• 14:28
  Speaker 1: has baseline, vanilla normy opinions about the world, which are
• 14:34
  Speaker 1: feminist opinions. And I'm I'm establishing that right off the bat,
• 14:37
  Speaker 1: so that we don't we don't have to see her
• 14:39
  Speaker 1: as an academic feminist because she's not. She's just a
• 14:42
  Speaker 1: normal girl that men should avoid.
• 14:46
  Speaker 4: So anyway, which means you're saying avoid normal girls.
• 14:53
  Speaker 1: Yeah, because I I yes, that's what I'm saying.
• 14:57
  Speaker 4: Avoid neurotypicals.
• 15:01
  Speaker 1: Acquire you need no, I mean there, I'm just saying
• 15:05
  Speaker 1: that it's the normal default setting, like there are you know,
• 15:09
  Speaker 1: I've been saying for a while, there are almost no
• 15:12
  Speaker 1: trad con women. They're all feminist. It's just which one.
• 15:16
  Speaker 1: It's just how how radical that's all? It is, like,
• 15:20
  Speaker 1: how insane? Because the normal ones are also this.
• 15:25
  Speaker 4: What I'm not a trad.
• 15:29
  Speaker 1: You're not well, I mean, you're in a monogamous relationship
• 15:32
  Speaker 1: with a man, so that's pretty traditional by today. The
• 15:35
  Speaker 1: bar is low als and the bars you're you're married
• 15:39
  Speaker 1: to a heterosexual man. So there you go.
• 15:43
  Speaker 4: That makes me a traditionalist one.
• 15:46
  Speaker 1: That makes you a traitor to the to the of them. Yep,
• 15:51
  Speaker 1: all right, anyway, So why why be Lysistrata when you
• 15:57
  Speaker 1: could be Medea.
• 16:03
  Speaker 2: So the Peloponnesian War you've probably heard of it. It's
• 16:06
  Speaker 2: between Sparta and Athens. It started in four thirty one
• 16:10
  Speaker 2: BC and it ended in four oh four BC. You know,
• 16:13
  Speaker 2: lysnder He like starved out Athens and Sparta wins the war.
• 16:18
  Speaker 2: A play Lysistrata written by Aristophanes and performed in four
• 16:23
  Speaker 2: eleven BC. You know, twenty years into this war was
• 16:27
  Speaker 2: about how everyone just wants to the war to end.
• 16:30
  Speaker 2: Why is this war still going?
• 16:32
  Speaker 1: So kind of interesting thing about Greek mythology is it
• 16:37
  Speaker 1: it seems to run like they have their mythology and
• 16:41
  Speaker 1: their stories, but they run parallel to historical events. So
• 16:45
  Speaker 1: like this war was real, right am I? Am I?
• 16:50
  Speaker 1: That's true? Right?
• 16:52
  Speaker 4: Yes, probably I could double.
• 16:54
  Speaker 1: Check in Sparta and Athens or whatever it was.
• 16:58
  Speaker 4: If you're talking about a war between Sparta and Athens,
• 17:01
  Speaker 4: I would say that that could apply to a lot
• 17:04
  Speaker 4: of incidences throughout history, So it's fairly safe to say
• 17:08
  Speaker 4: that that happened.
• 17:09
  Speaker 1: I just all I'm just commenting on because I love
• 17:12
  Speaker 1: Greek mythology, that there is like a real event that
• 17:18
  Speaker 1: really happened, Like we have we have archaeological evidence of
• 17:23
  Speaker 1: these places existing and these wars happening and all of that,
• 17:26
  Speaker 1: you know, that's all over the place, just like the
• 17:28
  Speaker 1: Trojan War was real. But then there were also stories
• 17:32
  Speaker 1: that were written in plays that would be taking place
• 17:36
  Speaker 1: in the same place, but they included all of this
• 17:39
  Speaker 1: ancient kind of you know, I don't know, like this
• 17:43
  Speaker 1: this ancient myth. It was like they were layering something
• 17:46
  Speaker 1: else on top. And I think it's the myth that
• 17:49
  Speaker 1: allowed it to like be as fascinating as it is,
• 17:53
  Speaker 1: like it made it more interesting. I'm I'm sorry, I'm
• 17:56
  Speaker 1: just I'm getting a little nerdy here. I'm just pointing
• 17:58
  Speaker 1: it out because it's interesting. She's gonna get well, I mean,
• 18:02
  Speaker 1: she gets stuck in like what I think is kind
• 18:03
  Speaker 1: of a small thing, a very small thing. But anyway,
• 18:06
  Speaker 1: let's keep going going on.
• 18:08
  Speaker 2: Like all super cool children, I went through a classics
• 18:11
  Speaker 2: phase between the ages of like eight and thirteen, and
• 18:14
  Speaker 2: I read everything I could get my hands on, including Lisistrata.
• 18:17
  Speaker 2: I remember this play as pretty funny but also very raunchy.
• 18:22
  Speaker 1: A group of.
• 18:23
  Speaker 2: Athenian and Spartans led by a woman called Lisistrata, get
• 18:26
  Speaker 2: together and they try to end the war by instituting
• 18:30
  Speaker 2: a sex strike, and the play ends with the Spartan
• 18:34
  Speaker 2: and Athenian generals like together in a tent signing a
• 18:38
  Speaker 2: piece treaty with like comically huge boners. But of course
• 18:42
  Speaker 2: I did have to reread it for this video, and
• 18:44
  Speaker 2: that's not really it part one, okay.
• 18:48
  Speaker 4: Yes, the Peloponnesian War Athens versus Sparta and their respective
• 18:52
  Speaker 4: alliances four thirty one to four four BC. The play
• 18:57
  Speaker 4: was performed in four eleven BCE, twenty years of the war,
• 19:00
  Speaker 4: in just two years after the Sicily Sicilian expedition Athens
• 19:04
  Speaker 4: catastrophic invasion of Sicily. Wow, lots of things happened in
• 19:08
  Speaker 4: Sicily that destroyed a huge portion of the fleet and army.
• 19:13
  Speaker 4: The city was reeling depleted and in a political crisis.
• 19:16
  Speaker 4: The oligarchic Coup of the four hundred happened the same year.
• 19:19
  Speaker 4: Astrophanes was writing into real immediate exhaustion with the war
• 19:22
  Speaker 4: that had no end in sight. The war did keep
• 19:24
  Speaker 4: going on another seven years after the play in Athens Loss. So, yes, Brian,
• 19:28
  Speaker 4: your intuition is correct. That is that is the that
• 19:33
  Speaker 4: is the context for this play. So basically the Athenians
• 19:37
  Speaker 4: were exhausted in this war, which I.
• 19:39
  Speaker 1: Think that they made the play in the hopes it
• 19:42
  Speaker 1: was almost like a little bit of like the we
• 19:45
  Speaker 1: you know how we made this sort of like anti
• 19:49
  Speaker 1: war music during Vietnam, and like it seems like it
• 19:54
  Speaker 1: was something like that, like they were trying to, i
• 19:57
  Speaker 1: don't know, like express frustration the war, but also maybe
• 20:02
  Speaker 1: use it as like a way to inspire people to
• 20:05
  Speaker 1: end it by doing a sex strike. So I don't know,
• 20:09
  Speaker 1: I don't know. It's almost like a bit of a satire,
• 20:12
  Speaker 1: like with the comic belief owners and stuff.
• 20:15
  Speaker 4: Yeah, well, it was intended to be funny. It's probably
• 20:18
  Speaker 4: what people needed at the time as some humor, but
• 20:20
  Speaker 4: also it's it's actually a rather flattering view of women
• 20:25
  Speaker 4: and women's role in the political process, because he's essentially
• 20:29
  Speaker 4: saying that women could use a sex strike to end
• 20:32
  Speaker 4: this war, and that they would as opposed to actually
• 20:36
  Speaker 4: stab a rattling and holding on to their grievances the
• 20:41
  Speaker 4: Spartan women on Athens and the Athenian women on Spartan,
• 20:45
  Speaker 4: which is probably more accurate to what was happening to
• 20:47
  Speaker 4: be honest. So it's like it's lighthearted. It's awfully like
• 20:53
  Speaker 4: pro woman, and it's even slightly like proto feminist if
• 20:57
  Speaker 4: you think about it, classic sex strike maneuver to control politics.
• 21:04
  Speaker 4: That's possibly, you know, of all of the things that
• 21:08
  Speaker 4: feminism posits, that's possibly, and I am not giving it
• 21:11
  Speaker 4: a lot of credit. That's possibly the least defensive because
• 21:17
  Speaker 4: now we're dealing with, you know, killing kids, which is
• 21:20
  Speaker 4: I think a category beyond what this is. But but
• 21:25
  Speaker 4: it still is proto feminist, and again a very positive
• 21:30
  Speaker 4: view of women's influence on politics. She's basically saying that
• 21:33
  Speaker 4: women would and could influence the politics of Athena and
• 21:38
  Speaker 4: Sparta to enact an end that everybody wants because they're
• 21:43
  Speaker 4: tired of this war. And but that's not good enough
• 21:47
  Speaker 4: for this young lady. That's not feminist enough. In fact,
• 21:51
  Speaker 4: that might even be controlled traditionalists. That might even be
• 21:54
  Speaker 4: considered pick me territory. All right, let's let's keep going.
• 22:00
  Speaker 1: Uh Yeah, So I got a couple of rumble rants.
• 22:04
  Speaker 1: I'm gonna read out really quick. I got a superchow
• 22:07
  Speaker 1: before the show too. Itsy bitsy Huntsman gave us five
• 22:12
  Speaker 1: and five I think one went to the fundraiser and
• 22:16
  Speaker 1: one was just the super child, So thank you. It'sy
• 22:18
  Speaker 1: bitsy huntsman. Nova Fan twenty one gives us a dollar
• 22:21
  Speaker 1: and says, wasn't it a Greek philosopher that said a
• 22:24
  Speaker 1: woman's promise is written in sand? I believe that philosopher
• 22:28
  Speaker 1: has predicted all feminist virtues. Then Nova Fan gives another
• 22:31
  Speaker 1: dollar and says, correction, the oaths of a woman I
• 22:35
  Speaker 1: inscribe on water Sophocles. Yeah, it's almost like they were
• 22:40
  Speaker 1: pretty red pills back then. I frankly don't. I don't
• 22:43
  Speaker 1: believe there's anything new under the sun. And the sort
• 22:47
  Speaker 1: of shit we're going through now is I think stuff
• 22:50
  Speaker 1: that we've gone through in the past. You know, time
• 22:53
  Speaker 1: is a flat circle and all that.
• 22:55
  Speaker 4: But consider consider how our descended would think of us
• 23:00
  Speaker 4: if some red pill or a related manisphere of writing
• 23:06
  Speaker 4: came to them like it it just ended up in
• 23:08
  Speaker 4: the archaeological record, and they looked at us and they said, oh,
• 23:11
  Speaker 4: those those people, they were so red pilled. That is
• 23:15
  Speaker 4: the opinion of one philosopher. That doesn't necessarily mean the
• 23:18
  Speaker 4: entire society was in lockstep with him, And I don't
• 23:21
  Speaker 4: mean that as like a condemnation of what he was saying,
• 23:24
  Speaker 4: I mean that as don't don't assume, like over assume
• 23:28
  Speaker 4: based on his opinion, because you know, if the archaeological
• 23:32
  Speaker 4: record of our civilization happens to transmit the thinkings of
• 23:37
  Speaker 4: I don't know, Peter.
• 23:39
  Speaker 1: Wright, yeah probably the probably got killed by white knights
• 23:45
  Speaker 1: because he was like, you know, I shall not suffer thoughts,
• 23:49
  Speaker 1: and they were like, no, you must string them up anyway,
• 23:54
  Speaker 1: string them up. Okay, all right, mm so yeah, let's
• 23:58
  Speaker 1: keep going.
• 23:59
  Speaker 2: I guess high book people. I want to start, and
• 24:02
  Speaker 2: I want to say that I have never studied the Classics,
• 24:05
  Speaker 2: like officially, in like some sort of course. I just
• 24:09
  Speaker 2: kind of read them for fun. And I don't think
• 24:11
  Speaker 2: that means I don't have anything interesting to say about
• 24:14
  Speaker 2: the Classics. But I just wanted to let you know
• 24:17
  Speaker 2: that in case, like there is an undergrad watching this
• 24:21
  Speaker 2: video at like eleven oh five PM and they have
• 24:24
  Speaker 2: an essay do at eleven fifty five and I have
• 24:26
  Speaker 2: to get that on websign or whatever. Girly, just read
• 24:30
  Speaker 2: the book. Just read the book. Just form your own opinion.
• 24:33
  Speaker 2: Get out of here. People on the internet, at least
• 24:35
  Speaker 2: where I hang out on the internet.
• 24:37
  Speaker 5: Talking a lot Dick.
• 24:39
  Speaker 1: She's just saying, look, you know, I don't want you
• 24:41
  Speaker 1: to use my video.
• 24:44
  Speaker 4: No, that she's pre judging the person that she's describing
• 24:49
  Speaker 4: this opinion too, first of all as an undergraduate who
• 24:53
  Speaker 4: doesn't necessarily know, doesn't have an expert opinion on it,
• 24:57
  Speaker 4: but also an undergraduate who's procrastinating, not doing their work,
• 25:01
  Speaker 4: maybe overdue for their assignment. And so she's basically discrediting
• 25:06
  Speaker 4: anybody who's saying, Hey, what you're saying isn't actually supported
• 25:10
  Speaker 4: by the source material or any of like the second
• 25:13
  Speaker 4: order sources around it, like Aristotle's opinions on this play,
• 25:20
  Speaker 4: or maybe the opinions of contemporary Greek philosophers or authors
• 25:26
  Speaker 4: or just politicians or whatever on this play, or the
• 25:28
  Speaker 4: context of the historical context of the play. And they
• 25:31
  Speaker 4: might point that out to her, she's already prejudged them
• 25:34
  Speaker 4: as not worthy as of having all of these characteristics
• 25:39
  Speaker 4: that make their opinion invalid. That's another rhetorical move, a
• 25:43
  Speaker 4: relational web move, in which she is ascribing coordinates invalid
• 25:47
  Speaker 4: coordinates to whoever might be calling out what she's doing here.
• 25:52
  Speaker 4: You see, it's deeper than just you know, what you're saying.
• 25:56
  Speaker 1: Well, Okay, No, I mean no, that's fair. Yeah, that's fair. Okay,
• 26:02
  Speaker 1: I didn't catch that. Yeah, I was thinking, like like
• 26:05
  Speaker 1: a man, I was thinking it, and I was like,
• 26:09
  Speaker 1: she's just saying, you know, I'm probably not a reliable
• 26:12
  Speaker 1: source for your paper.
• 26:15
  Speaker 4: You have to think like a Labia trader, Brian.
• 26:18
  Speaker 1: Yeah, I can't do that, and that's fine by me.
• 26:22
  Speaker 4: You've been Did you want to add anything to any
• 26:25
  Speaker 4: of this at this point, Fielder, she is correct.
• 26:28
  Speaker 3: She has nothing of value to say.
• 26:32
  Speaker 1: Yeah. See more dude thinking So anyway, that's what I
• 26:38
  Speaker 1: was saying. Yes, you're right, you don't have anything to say.
• 26:41
  Speaker 1: Show us your tits to get out. I'm kidding, all right,
• 26:45
  Speaker 1: So let's let's keep going.
• 26:47
  Speaker 3: The only thing I'm just gonna say, I am going
• 26:48
  Speaker 3: to prejudge her a little bit, but I'm going to
• 26:50
  Speaker 3: be specific about it reads and cullin a rum mulia
• 26:58
  Speaker 3: mm hm hm hmmm.
• 27:01
  Speaker 1: I don't know what that means.
• 27:02
  Speaker 3: It's Latin reddis and clarum reddis reddis.
• 27:07
  Speaker 5: You go.
• 27:09
  Speaker 3: Add to kulin orum as in culinary kitchen mullah.
• 27:19
  Speaker 4: That's the most periodic way of saying, get back in
• 27:22
  Speaker 4: the kitchen. Excellent, perfect, Okay.
• 27:28
  Speaker 1: Okay, great, all right, let's let's go. She's got to
• 27:33
  Speaker 1: bring up the four B movement because Lyssa Strata is
• 27:38
  Speaker 1: basically a callback to that and in Korea.
• 27:43
  Speaker 2: Which I do not feel qualified to talk about, but
• 27:45
  Speaker 2: it's very interesting. Link me the interesting VI.
• 27:49
  Speaker 4: But can I just can I just point something out here?
• 27:53
  Speaker 4: She doesn't feel qualified to talk about the four B
• 27:56
  Speaker 4: movement in Korea, but she does feel totally qualified and
• 28:01
  Speaker 4: ancient Greek plays right and dismissing the opinions of actual
• 28:09
  Speaker 4: scholars into ancient Greek literature. Okay, why the difference? Bye bye?
• 28:17
  Speaker 4: Out of curiosity? Oh, it just seems a bit odd,
• 28:22
  Speaker 4: all right, Brian, take it away, all right.
• 28:26
  Speaker 2: When people talk about the four B movement, they also
• 28:29
  Speaker 2: bring up Lizistrata, a play where women use a sex
• 28:34
  Speaker 2: strike to solve a societal ill. And I saw this
• 28:38
  Speaker 2: very interesting comment that kind of just stuck in my head,
• 28:41
  Speaker 2: and I have no idea where this was. It's one
• 28:43
  Speaker 2: of those things that I've read maybe on like a
• 28:45
  Speaker 2: YouTube comment or reddick comment or on Blue Sky, and
• 28:49
  Speaker 2: someone said, it's really interesting that people always bring up
• 28:52
  Speaker 2: Lazistrata and call it a feminist play. When it was
• 28:55
  Speaker 2: performed at a time where the joke was that, haha,
• 28:59
  Speaker 2: imagine women being able to do anything.
• 29:04
  Speaker 1: Okay, I'm pausing for the banana case he has going
• 29:06
  Speaker 1: to jump in. Really, well, that's that's that take.
• 29:13
  Speaker 4: Yes, particularly in the context of like okay, So there
• 29:19
  Speaker 4: was a particular type of column now that was like
• 29:23
  Speaker 4: a female column, and the mythology around that female column
• 29:27
  Speaker 4: was that it was punishment to these women who are
• 29:31
  Speaker 4: part of a Polis out like that was in conflict
• 29:35
  Speaker 4: with Athens. It was punishment for those women for continuing
• 29:38
  Speaker 4: to agitate for war against Athens. Right, So obviously, well
• 29:44
  Speaker 4: not obviously, but there's a strong suggestion that women did
• 29:47
  Speaker 4: have a role to play in politics, maybe not directly,
• 29:51
  Speaker 4: but certainly in fermenting war, which is something that's consistent
• 29:56
  Speaker 4: with a lot of different cultures that women keep. The
• 29:59
  Speaker 4: ledger of grievance is they appeal to their or not
• 30:04
  Speaker 4: may appeal is too soft. It's like the White Feather
• 30:07
  Speaker 4: Brigade during World War One. It's they shame their men's
• 30:11
  Speaker 4: honor for failing to protect their society, their civilization right,
• 30:18
  Speaker 4: and that spurs men to go to war. And this
• 30:21
  Speaker 4: is common in a lot of like ancient or like
• 30:26
  Speaker 4: I wouldn't say the North Sagas are ancient, but you
• 30:29
  Speaker 4: know older literary texts that describe these kind of social
• 30:35
  Speaker 4: interactions between men and women on a like a political
• 30:39
  Speaker 4: and lineage like level. So this is her saying or
• 30:44
  Speaker 4: them saying, O Strata. The joke was that women would
• 30:47
  Speaker 4: have any say in war is ridiculous they did. The
• 30:51
  Speaker 4: joke is that women would want to stop it and
• 30:56
  Speaker 4: not just want men to die in order to absolve
• 30:58
  Speaker 4: these sense of honor and violation of their failure to
• 31:05
  Speaker 4: live up to the code of being a protector and warrior.
• 31:10
  Speaker 4: I'm just I'm putting it there. That's another interpretation. Okay,
• 31:15
  Speaker 4: let's keep it interesting.
• 31:16
  Speaker 1: You know, there there was a modern film adaptation of
• 31:21
  Speaker 1: Less Strata, or at least it was like based on
• 31:24
  Speaker 1: the play. It was called Schiraq, directed by Spike Lee,
• 31:29
  Speaker 1: and it was basically takes place in Chicago's South Side
• 31:33
  Speaker 1: where there were all these gang violence between these two
• 31:37
  Speaker 1: gangs and the women. They all went on a sex
• 31:41
  Speaker 1: strike until the gangs agreed to lay on their weapons
• 31:44
  Speaker 1: and end the violence. And it's got like musical numbers
• 31:48
  Speaker 1: in it and stuff. So I'm just saying it's been done,
• 31:51
  Speaker 1: and Spike Lee is definitely a lib so he was
• 31:56
  Speaker 1: trying to do a feminist thing with this, and it
• 31:59
  Speaker 1: had been done before. And I believe the film came
• 32:01
  Speaker 1: out in the mid two thy tens, like twenty fourteen,
• 32:06
  Speaker 1: twenty fifteen, something like that. I didn't watch it because
• 32:08
  Speaker 1: I'm not a fan. It's likely, but yeah, just saying
• 32:12
  Speaker 1: that stories been told before, and people have definitely like
• 32:18
  Speaker 1: saw it as an empowering film, and a lot of
• 32:20
  Speaker 1: feminists do find it empowering. But let's see what she says.
• 32:26
  Speaker 2: And I didn't really remember the play that well, but
• 32:28
  Speaker 2: I thought, well, that sounds interesting. That's not how I
• 32:31
  Speaker 2: read it at all, and that just kind of stuck
• 32:33
  Speaker 2: in my head and it made me want to reread
• 32:36
  Speaker 2: Lis of Strata. So I found this book on my
• 32:38
  Speaker 2: Northern Kentucky book trip, which is kind of interesting because
• 32:41
  Speaker 2: it's written by a professor at Boston University, you know
• 32:44
  Speaker 2: here in Boston. It's called Three Plays by Aristophanes. By
• 32:49
  Speaker 2: the way, I am sure I'm pronouncing all of these
• 32:52
  Speaker 2: Greek words wrong, and I'm so sorry. Staging Women translated
• 32:56
  Speaker 2: and edited by Jeffrey Henderson And this I think I've
• 32:58
  Speaker 2: mentioned before is how I for to read these types
• 33:01
  Speaker 2: of books, Like I want essays explaining to me the context.
• 33:05
  Speaker 2: I want like a bunch of notes explaining the jokes
• 33:08
  Speaker 2: and what kind of famous people there.
• 33:10
  Speaker 4: Okay, wait, wait, you realize that you're talking about tertiary sources.
• 33:16
  Speaker 4: Essays can present an opinion, they don't present context.
• 33:20
  Speaker 1: Yeah, but what if she likes the opinion they're presenting, Allison,
• 33:24
  Speaker 1: have you considered that she just might like that that
• 33:27
  Speaker 1: opinion more than the original story? Have you heard? Are
• 33:31
  Speaker 1: you familiar with this concept called death of the author?
• 33:35
  Speaker 4: Well, it's like death of the author, death of the culture,
• 33:38
  Speaker 4: death of the surrounding context.
• 33:40
  Speaker 1: Was death like that's where people are moving towards. Is
• 33:45
  Speaker 1: the destruction of all things Western.
• 33:48
  Speaker 4: It's really interesting that she prefers an interpretive take on
• 33:51
  Speaker 4: the act to the actual original.
• 33:54
  Speaker 1: That's by a thousand nags. Okay, sorry, go ahead, Alison,
• 34:00
  Speaker 1: you know.
• 34:00
  Speaker 4: I'm I'm I'm pretty much done. I was gonna cue
• 34:03
  Speaker 4: to see if Tielder had anything he wanted to add.
• 34:09
  Speaker 1: Nope, oh there is, he has got him.
• 34:14
  Speaker 3: I'm okay, okay, all right.
• 34:18
  Speaker 2: All right, I don't know a lot of history. This
• 34:20
  Speaker 2: is how I like to read all of it, and
• 34:23
  Speaker 2: this was a fantastic book. What I learned from this
• 34:26
  Speaker 2: book is that right away Henderson the author, completely disagrees
• 34:31
  Speaker 2: with that comment that's stuck in my head and maybe
• 34:33
  Speaker 2: want to reread the book. Let me give you an example.
• 34:36
  Speaker 2: That all female characters, even the naked women of comedy,
• 34:40
  Speaker 2: were played by men does not mean that Athenian Drama
• 34:43
  Speaker 2: was a drag show or a tell against the possibility
• 34:46
  Speaker 2: that these portrayals of women were intended to be believable.
• 34:49
  Speaker 2: Even now as a modern.
• 34:50
  Speaker 1: Viewer, it's interesting she's saying that that there's they're clarifying
• 34:54
  Speaker 1: this thing where that wasn't a drag show because she's
• 34:57
  Speaker 1: about to attack it. But she can't attack drag queens.
• 35:01
  Speaker 1: But she can't attack men dressed up as women. Okay,
• 35:07
  Speaker 1: drama wed so then, because men dressed up as women
• 35:10
  Speaker 1: are literally stealing women's roles, but drag queens are not.
• 35:13
  Speaker 1: They're like a separate They're a thing that needs to
• 35:16
  Speaker 1: be protected.
• 35:17
  Speaker 2: You see, understand inherently the kind of suspension of disbelief
• 35:23
  Speaker 2: that comes with watching a stage show. I can sit
• 35:26
  Speaker 2: and I can watch orpheus and urritasy, like walk out
• 35:30
  Speaker 2: of the underworld, Like they're not they're on a rotating
• 35:34
  Speaker 2: wheel on a stage, but when you're watching a play,
• 35:38
  Speaker 2: they're walking out of the underworld. So twenty five hundred
• 35:41
  Speaker 2: years ago, they were watching women perform a sex strike,
• 35:45
  Speaker 2: even though it was a man in a mask, And
• 35:47
  Speaker 2: I think that that's fine. That comment I saw kind
• 35:50
  Speaker 2: of tricked me into rereading this estrata, and I'm glad
• 35:54
  Speaker 2: it did, But I don't think that comment made very
• 35:57
  Speaker 2: much sense. So now let's just talk about the playlist estrata.
• 36:02
  Speaker 1: All right, I'm pause up there for the banana.
• 36:05
  Speaker 4: Tricked you into reading lists estrata? What, Like, one of
• 36:14
  Speaker 4: the things that really annoys me is how much they
• 36:17
  Speaker 4: absolve themselves of women like this, absolve themselves of responsibility
• 36:21
  Speaker 4: over their own actions. Like she's sitting in the dark
• 36:25
  Speaker 4: because she hasn't turned on the light, but that's because
• 36:27
  Speaker 4: patriarchy makes the world dark. So she's basically sitting in
• 36:32
  Speaker 4: a form of misery she's created for herself, but it's
• 36:36
  Speaker 4: because it's justified, or she's forced to do it because
• 36:41
  Speaker 4: patriarchy makes the whole world dark. Even though patriarchy if
• 36:45
  Speaker 4: you think about it, was responsible for her being able
• 36:47
  Speaker 4: to flick on a light and end the darkness without
• 36:50
  Speaker 4: having to spend weeks making candles from tallow but we
• 36:55
  Speaker 4: won't go there. And then here this comment tricked her
• 36:59
  Speaker 4: into reading this Lysistra like, that's just at what point
• 37:07
  Speaker 4: do you recognize your own control over your reality? And
• 37:12
  Speaker 4: how difficult is it to live in a world that's
• 37:14
  Speaker 4: just randomly like doing things to you that you have
• 37:19
  Speaker 4: no ability to choose to respond to or not respond to.
• 37:24
  Speaker 4: That's all I wanted to say. It's just it's a pattern.
• 37:28
  Speaker 1: I get it, Okay, okay.
• 37:30
  Speaker 2: I remembered this as a pretty funny but also raunchy
• 37:34
  Speaker 2: play where Athenian and Spartan women get together under like
• 37:38
  Speaker 2: the boss that is liss Strata. It's to to sex, right,
• 37:41
  Speaker 2: war is over. Everyone's happy, But that's not really what
• 37:45
  Speaker 2: it's about. The men do want to have sex with
• 37:48
  Speaker 2: their wives, and they last about a week and there
• 37:49
  Speaker 2: are a lot of comically huge boners. But what actually
• 37:53
  Speaker 2: happens in the play is that while Lisistrata is talking
• 37:57
  Speaker 2: to the young women and saying, here's the deal, we're
• 37:59
  Speaker 2: not and have sex with our husbands, she has already
• 38:03
  Speaker 2: not in front of the audience, convinced the older women
• 38:06
  Speaker 2: to go to the acropolis and take control of the treasury.
• 38:11
  Speaker 2: This play is about a sex strike, but what actually
• 38:14
  Speaker 2: ends the war is that the women have taken control
• 38:18
  Speaker 2: of the purse. The war is no longer being funded
• 38:21
  Speaker 2: because the women physically have taken control of the government's money.
• 38:27
  Speaker 1: How did they do that in the story? I never
• 38:30
  Speaker 1: read this This is strata, Like, were the men just
• 38:34
  Speaker 1: not there? Did they like, well, whatever, I'm not going
• 38:38
  Speaker 1: to sweat that the story happened.
• 38:40
  Speaker 2: And they also physically fight men who try to show
• 38:44
  Speaker 2: up and get the money to fight the war. Like
• 38:48
  Speaker 2: this play is remembered as a sex strike, but what
• 38:51
  Speaker 2: actually happens is women get in control of government and
• 38:55
  Speaker 2: they put a stop to the war by saying we're
• 38:57
  Speaker 2: done now. In the middle of a war, the people
• 39:00
  Speaker 2: are so upset with this war that someone writes a
• 39:03
  Speaker 2: play about women taking over the government and ending the war.
• 39:07
  Speaker 2: That's that's really way more interesting than a simple sex strike.
• 39:12
  Speaker 2: But on reflection as an adult woman rereading this play,
• 39:17
  Speaker 2: the fact that that's what happens just kind of removes
• 39:21
  Speaker 2: all of the feminist feelings I had towards this play, honestly.
• 39:25
  Speaker 5: Can.
• 39:28
  Speaker 3: The men don't want to kill their own women?
• 39:32
  Speaker 6: Is that?
• 39:32
  Speaker 1: Is that? What did it to you?
• 39:33
  Speaker 3: Did you realize men don't actually want to hurt women?
• 39:35
  Speaker 3: They could have just slaughted everyone in there and they didn't,
• 39:39
  Speaker 3: did you?
• 39:46
  Speaker 4: Okay? So what happens is that the older women take
• 39:49
  Speaker 4: over the Acropolys's treasury off off stage, So there's no
• 39:57
  Speaker 4: you did the operational thing, Brian, you were like, how
• 39:59
  Speaker 4: did that happen?
• 39:59
  Speaker 1: No? It just it just just yeah, that's what I figured.
• 40:02
  Speaker 1: I figured it with some She says, they fought the
• 40:05
  Speaker 1: men in the acropolis. H She says that, I'm like, no,
• 40:09
  Speaker 1: they all become like Black Widow from the Marvel movies
• 40:12
  Speaker 1: and like Hurrican Rana all these guys, or I don't
• 40:15
  Speaker 1: see that happening. I yeah, I think that they they
• 40:19
  Speaker 1: plot armor. It happened off screen or backstage.
• 40:24
  Speaker 4: Aftermath and not the seizure. A chorus of old men
• 40:28
  Speaker 4: arrives with torches and firewood to smoke the women out.
• 40:30
  Speaker 4: A chorus of old women arrives with water jugs to
• 40:32
  Speaker 4: douse the fire. They scuffle. The women win the physical confrontation,
• 40:37
  Speaker 4: and the women hold the position. They win it because yeah,
• 40:42
  Speaker 4: because the men don't want to Actually.
• 40:43
  Speaker 1: How old are these men? Holy shit?
• 40:47
  Speaker 5: I want a magistrate.
• 40:48
  Speaker 4: Actually, when a magistrate arrives with Cynthia archers Athena's police
• 40:52
  Speaker 4: force to retake the treasury by force, the women fight
• 40:54
  Speaker 4: them off too with what with what the question?
• 40:57
  Speaker 1: They just fight them off. I've seen Greek sculptures. These
• 41:01
  Speaker 1: guys have six packs, all of them. Everyone in this
• 41:04
  Speaker 1: play had a six Yes, what are you talking about?
• 41:14
  Speaker 3: That cannot be overstated. I just want to remind everyone.
• 41:17
  Speaker 3: Plato was known on occasion to back up his arguments
• 41:20
  Speaker 3: in the symposium by disrobing and.
• 41:24
  Speaker 1: And what and finding and flexing, oh, flexing.
• 41:29
  Speaker 3: Yes, he would literally cite his arguments and flex of people.
• 41:37
  Speaker 4: Did he oil up for?
• 41:38
  Speaker 1: Did? He also refused to elaborate and leave.
• 41:41
  Speaker 3: You could say, look, Plato, I don't think that that
• 41:44
  Speaker 3: backs up your argument, and he would just say, I
• 41:46
  Speaker 3: don't care. Check out these guns. You are wrong.
• 41:52
  Speaker 1: Refuses to elaborate, leaves.
• 41:57
  Speaker 3: You might think you have a good argument, but check
• 41:59
  Speaker 3: out these fucking text riations. Well you have that. Check
• 42:11
  Speaker 3: out this lap spread.
• 42:19
  Speaker 4: Well that they had a like a concept of physical
• 42:22
  Speaker 4: and mental discipline. So I guess that the assumption is
• 42:25
  Speaker 4: if you have the goods physically, you probably have them
• 42:29
  Speaker 4: also mentally. Because it was still like a time when
• 42:32
  Speaker 4: a force was I don't know if if we still
• 42:36
  Speaker 4: I mean force was considered the ultimate leveler, the ultimate
• 42:41
  Speaker 4: concluder of problems. Anyway, let's uh, let's continue, all right,
• 42:46
  Speaker 4: Uh so yeah, let's let's keep going.
• 42:49
  Speaker 2: I think from this period as feminist. I'm also not
• 42:52
  Speaker 2: a feminist scholar. I'm not a historian, but.
• 42:54
  Speaker 4: Like, okay, okay, male author, right, okay, wait, wait just
• 42:59
  Speaker 4: a second. Was there in a connection between these thoughts?
• 43:04
  Speaker 4: Did she actually elaborate on why she no longer sees
• 43:08
  Speaker 4: listsestrata as.
• 43:09
  Speaker 1: She's getting to it, she's getting to it, you cut
• 43:11
  Speaker 1: her off? Oh, first, it begins with she's getting to it.
• 43:16
  Speaker 2: She's ben a scholar. I'm not a historian, but like,
• 43:20
  Speaker 2: can a male author write a feminist piece of work
• 43:25
  Speaker 2: in a culture where women are not allowed to speak?
• 43:30
  Speaker 2: Are we allowed to do that? Are we allowed to
• 43:31
  Speaker 2: call something? Feminists don't get all cultural relativism on me.
• 43:36
  Speaker 2: I hate that women have brains, and she'd be allowed
• 43:38
  Speaker 2: to speak. It doesn't matter what the culture.
• 43:40
  Speaker 4: Is Yeah, but you think that you think that sitting
• 43:44
  Speaker 4: in the dark is justified because you say that the
• 43:46
  Speaker 4: patriarchy has constructed a dark world. I don't know. I
• 43:50
  Speaker 4: think anything coming out of your mouth is probably not
• 43:53
  Speaker 4: worth listening to. Deconstructing for sure, but not actually taking
• 43:57
  Speaker 4: as a credible thought. So basically she just went, well,
• 44:00
  Speaker 4: why did you have to reread Lysistrata in order to
• 44:05
  Speaker 4: determine that the author was male and thus discredit the play?
• 44:14
  Speaker 4: Like the logic eludes me. He could have just been like, oh,
• 44:19
  Speaker 4: this was written by a man, while it's no longer
• 44:21
  Speaker 4: can give be considered feminist? Why did you have to?
• 44:25
  Speaker 4: Why did they? Why don't we have this this causal,
• 44:28
  Speaker 4: this causal train that makes no sense. The tweet or
• 44:31
  Speaker 4: the comment tricks her into reading Lisistrata. Having read Lysistrata,
• 44:37
  Speaker 4: she discovers that the author is a man. I'm pretty
• 44:41
  Speaker 4: sure she knew that before she read the play, and
• 44:44
  Speaker 4: because she's discovered that it's a man, it's no longer feminist,
• 44:49
  Speaker 4: and then written too, Yeah, but this is a direct
• 44:53
  Speaker 4: res Do you see how the causal the causal arrow
• 44:57
  Speaker 4: feels like it's not a causal arrow? It's more like
• 45:00
  Speaker 4: a causal horseshoe or a causal I don't know, non
• 45:07
  Speaker 4: Euclidean surface like it, just it doesn't seem to follow.
• 45:11
  Speaker 4: I'm just like her. Her understanding of causality seems flawed,
• 45:15
  Speaker 4: is what I'm getting at.
• 45:18
  Speaker 1: Yeah, okay, no, sorry, yeah, no, I see what you're saying.
• 45:26
  Speaker 4: I think, okay, well, okay, all right. Discovering that Lysis
• 45:33
  Speaker 4: Strata was written by a man does not require reading it,
• 45:38
  Speaker 4: and yet she's attributing having read it to discovering It's
• 45:42
  Speaker 4: not feminist when the causal arrow flows from, you know,
• 45:46
  Speaker 4: and and this kind of mushy attribution of causality really
• 45:51
  Speaker 4: bugs me for some reason, like not knowing where your
• 45:56
  Speaker 4: opinion actually comes from. It seems to me like I'm
• 45:59
  Speaker 4: like watching that, and it's like watching a eldritch horror
• 46:03
  Speaker 4: just crawl out of her face. I'm like, don't you
• 46:06
  Speaker 4: don't you have a problem with that, lady? Don't you
• 46:08
  Speaker 4: have a problem with that? That moment where you falsely
• 46:11
  Speaker 4: attribute causality to something that your opinion to something that
• 46:15
  Speaker 4: isn't actually where that opinion came from. Don't you find
• 46:18
  Speaker 4: that a bit concerning that? You don't understand yourself that much,
• 46:22
  Speaker 4: or that you have some kind of current in your
• 46:25
  Speaker 4: brain that fails to properly attribute causes to things like
• 46:29
  Speaker 4: isn't that like I know, okay, but I mean maybe
• 46:32
  Speaker 4: maybe I'm wrong. I don't know, it's just my interpretation
• 46:36
  Speaker 4: of what she just did. Let's let's keep going.
• 46:38
  Speaker 1: Yeah, all right.
• 46:40
  Speaker 2: From Henderson here, men took elaborate measures to avoid any
• 46:44
  Speaker 2: public exposure of their private worlds, principally by discouraging public
• 46:48
  Speaker 2: exposure of the women of their households. A woman seen
• 46:51
  Speaker 2: too often away from her house might be considered neglectful
• 46:54
  Speaker 2: of her duties, and one conversing at any time with
• 46:57
  Speaker 2: strange males would open herself to suspicion of infidelity, and
• 47:00
  Speaker 2: so the private sphere was considered officially separate, hidden by
• 47:03
  Speaker 2: protocols of public invisibility in silence.
• 47:05
  Speaker 4: Ideally, you actually found that this is not as this
• 47:09
  Speaker 4: is not as overstated as this was like this, and
• 47:13
  Speaker 4: also her duties were It wasn't like the separation between
• 47:22
  Speaker 4: the female private sphere and the male public sphere wasn't
• 47:25
  Speaker 4: quite as strict as they're making it out to be.
• 47:29
  Speaker 4: And in fact, women did occupy the male public sphere.
• 47:33
  Speaker 4: It's just that their private sphere was exclusive to them.
• 47:37
  Speaker 4: And I also like to point out that it's not
• 47:40
  Speaker 4: just patriarchy enforcing women's roles on these women.
• 47:45
  Speaker 5: It was the.
• 47:48
  Speaker 4: Need to survive because at this time, the household was
• 47:53
  Speaker 4: a unit of production, right, So if people wanted to survive,
• 47:56
  Speaker 4: women needed to do their work. So it's basically like
• 47:59
  Speaker 4: the feminists being upset at that is like being upset
• 48:03
  Speaker 4: I don't know, a ceo being in his office attending
• 48:06
  Speaker 4: to his work and people being like the CEO is
• 48:09
  Speaker 4: like wandering around doing golf all the time. People are
• 48:12
  Speaker 4: gonna be like, what, why are you neglecting your duties?
• 48:15
  Speaker 4: And they might have a little bit of judgment. That's
• 48:17
  Speaker 4: exactly the same thing that feminists are doing here. When
• 48:21
  Speaker 4: women are wandering around not attending to their duties, people
• 48:24
  Speaker 4: are going to judge them, just like you know, if
• 48:27
  Speaker 4: you have a machinist who's wandering away from the lathe
• 48:31
  Speaker 4: and going off and I don't know, drinking at a
• 48:33
  Speaker 4: bar instead of doing his work, he might get a
• 48:35
  Speaker 4: bit of judgment. But somehow, in this circumstance, when women
• 48:40
  Speaker 4: are not attending to their duties and their expectations, the
• 48:44
  Speaker 4: judgment is wrong. Why is that when it's exactly the
• 48:49
  Speaker 4: same and we completely understand why you would judge a
• 48:53
  Speaker 4: man who's expected to do a job for not doing
• 48:56
  Speaker 4: that job, right. Why is it that when when the
• 49:00
  Speaker 4: ancient Greeks who needed women to do these jobs, that
• 49:03
  Speaker 4: they were given these roles that they were given for
• 49:05
  Speaker 4: people to survive. Why is it that when they judged
• 49:08
  Speaker 4: women for not doing the roles that needed to get done,
• 49:12
  Speaker 4: they're misogynists. But we can judge men for not doing
• 49:16
  Speaker 4: the roles that are assigned to them. Why is that?
• 49:21
  Speaker 4: But it's a thought experiment, all right, Brian, I'm good,
• 49:25
  Speaker 4: all right.
• 49:26
  Speaker 3: It does have to be stated. I think that this
• 49:28
  Speaker 3: is I don't know the Finnish do this intentionally or not.
• 49:32
  Speaker 3: It really is like you realize that all of these societies,
• 49:36
  Speaker 3: for how advanced they appear at the time, was still
• 49:41
  Speaker 3: on the bottom tier of Maslow's hierarchy. Like these are
• 49:44
  Speaker 3: the sorts of civilizations where over ninety percent of the
• 49:48
  Speaker 3: population was involved in agriculture, because it was impossible for
• 49:53
  Speaker 3: that to not be the case because otherwise everyone would die.
• 49:58
  Speaker 3: Like this is literally in these sorts ofzations where if
• 50:01
  Speaker 3: you would say something like a mullia in we am
• 50:05
  Speaker 3: ambulus reddish ad cosm at facismios kenum, you're not just
• 50:11
  Speaker 3: being You're not just being a condescending dictor. It's literally
• 50:16
  Speaker 3: that's what you need to do. Our society fails. Yeah,
• 50:22
  Speaker 3: and for people who want the translation, woman walk in
• 50:25
  Speaker 3: the road, return to the house, and make my dinner
• 50:28
  Speaker 3: like that was literally you had to do that otherwise
• 50:33
  Speaker 3: society would crumble because if you didn't, you're part of
• 50:37
  Speaker 3: the ninety something percent of people who are actually providing
• 50:40
  Speaker 3: the food that allows the other like ten percent of
• 50:43
  Speaker 3: people to do everything else. The Ivory Tower that we
• 50:47
  Speaker 3: sit in in the modern era, which is you know
• 50:50
  Speaker 3: that that Ivory Tower has a nice little annex on
• 50:53
  Speaker 3: it where the trad cucks sit and talk about how
• 50:55
  Speaker 3: they want to work while their woman sits at home
• 50:58
  Speaker 3: doing not very much because the nineteen fifties happened and
• 51:03
  Speaker 3: we only need about ten percent of the population working
• 51:05
  Speaker 3: in agriculture now. And also there was that weird blip
• 51:09
  Speaker 3: in time where a large percentage of the male population
• 51:12
  Speaker 3: died because two world wars happened, and so economies kind
• 51:16
  Speaker 3: of shuffled around and people could afford to do that
• 51:19
  Speaker 3: before the market's rebalanced, Like we are sitting in such
• 51:23
  Speaker 3: a bizarre case in human history. Post industrial revolution is bizarre,
• 51:32
  Speaker 3: m as is post war and people like this, Like
• 51:37
  Speaker 3: like I said, I don't know whether it's just intentional
• 51:40
  Speaker 3: that they ignore this or whether it is just blind
• 51:43
  Speaker 3: ignorance that this is what most people had to do,
• 51:47
  Speaker 3: they had to produce.
• 51:52
  Speaker 4: Okay, So basically the seclusion point is very overstated, and
• 51:57
  Speaker 4: it's been revised since the nineteen nineties. There was a
• 51:59
  Speaker 4: disconnect between the ideology ideology of female seclusion and the
• 52:02
  Speaker 4: realities of life, class, status, and age shaped gendered behavioral ideals.
• 52:08
  Speaker 4: Women frequently worked outside the household and fields, markets, ins,
• 52:12
  Speaker 4: and workshops of the ancient Greek world. Lisa Novette's and
• 52:17
  Speaker 4: Lynn Foxhall's archaeological work on Greek houses argues that the
• 52:20
  Speaker 4: standard women's quarters men's quarters division was less rigid than
• 52:24
  Speaker 4: older readings claimed. Household space was flexible, with private public
• 52:28
  Speaker 4: being a more accurate access than axis than male female.
• 52:33
  Speaker 4: So essentially, I don't know. I guess the if we
• 52:38
  Speaker 4: looked back at our time, they might find the bedroom
• 52:42
  Speaker 4: to be women's quarters or something or or I don't know,
• 52:45
  Speaker 4: the sewing sewing room, if women still have that kind
• 52:48
  Speaker 4: of thing. But that's not it wouldn't actually reflect any
• 52:51
  Speaker 4: attitude that we have, all right. So household space was flexible,
• 52:57
  Speaker 4: all right. It required the strict usion model was always
• 53:01
  Speaker 4: elite coated. It required enough wealth to have women who
• 53:04
  Speaker 4: didn't need to fetch water, go to market, or work
• 53:07
  Speaker 4: the fields. Most Athenian households couldn't afford it. The Henderson
• 53:11
  Speaker 4: note the speaker quoted Pericles women least talked of public
• 53:15
  Speaker 4: invisibility describes the elite ideology, not the lived reality across classes. Also,
• 53:22
  Speaker 4: household power. In the ancient Greek world, the household was
• 53:25
  Speaker 4: the basic economic unit. It was within the household that
• 53:28
  Speaker 4: the daily activities took place that provided sustenance, food preparation,
• 53:32
  Speaker 4: household cleaning, fetching water, disposing of human waste, caring for children,
• 53:35
  Speaker 4: the sick, and the elderly. The oukos wasn't peripheral to
• 53:39
  Speaker 4: economic life. It was economic life for most production. So essentially,
• 53:43
  Speaker 4: when feminists look back at ancient Greece and they say
• 53:47
  Speaker 4: women were secluded and they were expected to do their roles,
• 53:51
  Speaker 4: what they're saying is that the class of people who
• 53:54
  Speaker 4: were essentially the foremen for women of the like what
• 54:00
  Speaker 4: we might consider the industrial unit of a society. We're
• 54:04
  Speaker 4: expected to do their job right, and they weren't that secluded,
• 54:09
  Speaker 4: especially if they weren't in part of the elite class
• 54:11
  Speaker 4: where they basically lived lives of leisure. Right, And for
• 54:15
  Speaker 4: some reason, whenever people make a lot of money, they
• 54:19
  Speaker 4: put women in a space and say, do whatever you
• 54:21
  Speaker 4: want within this space, so you no longer have to
• 54:23
  Speaker 4: go out and deal with the rabble. Right today we
• 54:28
  Speaker 4: call those avocata toast jobs. Okay, it's the same principle.
• 54:35
  Speaker 4: When society gains enough wealth, it grants its women leisure
• 54:41
  Speaker 4: and status for basically nothing. And we still do that today.
• 54:47
  Speaker 4: I mean, this woman is evidence of that. She can't
• 54:51
  Speaker 4: even think properly about causality. How can she function in
• 54:55
  Speaker 4: a world that used the causality exists? She doesn't. She
• 55:00
  Speaker 4: exists within a sphere, a bubble constructed by male labor,
• 55:06
  Speaker 4: in a complete complex, to the point where she is
• 55:10
  Speaker 4: so cauceted and so given like she's given such leisure
• 55:17
  Speaker 4: and lack of any kind of hard hardship or imposition
• 55:22
  Speaker 4: that she doesn't she can make basic failures of causality
• 55:26
  Speaker 4: and it doesn't affect her. She can live in a
• 55:29
  Speaker 4: like a wormhole, like a like a labyrinth of wormholes
• 55:33
  Speaker 4: of her own devising, and it doesn't matter because some
• 55:35
  Speaker 4: man is going to make sure that that doesn't impact her.
• 55:41
  Speaker 4: Like she can be as irrational and incapable of doing
• 55:47
  Speaker 4: anything as she wants in it and it won't matter
• 55:51
  Speaker 4: because some dude will be there to wipe her ass
• 55:53
  Speaker 4: for her. Okay, yeah, so women in ancient Greek manage
• 56:00
  Speaker 4: substantial domains food storage and processing, textile production. Clothing was
• 56:04
  Speaker 4: made at home, a major economic activity, and people don't
• 56:06
  Speaker 4: even realize now how big an economic activity clothing was, like.
• 56:12
  Speaker 4: It was huge, and people who controlled clothing controlled a
• 56:16
  Speaker 4: huge amount of social life and status. Slave management child
• 56:20
  Speaker 4: rearing is labor reproduction and the financial running of the
• 56:23
  Speaker 4: household economy. A. Xenophon's Oeconomicus portrays the wife as the
• 56:28
  Speaker 4: household manager, a serious administrative role. Despite restrictions, there were
• 56:33
  Speaker 4: areas in which women played an important role, particularly in
• 56:35
  Speaker 4: religious cults. Priestesses were often held in high esteem and
• 56:39
  Speaker 4: had considerable influence in ritual contexts. Religious office was a
• 56:43
  Speaker 4: real public role for women not a domestic only consolidation. Also,
• 56:48
  Speaker 4: consider that in the past politics was much much, much
• 56:55
  Speaker 4: closerly connected to war, right, And if you're not able
• 57:01
  Speaker 4: to pick up a spear and a shield and go
• 57:04
  Speaker 4: march off and defend the police, why do you have
• 57:07
  Speaker 4: a say, like a direct say in war? Like why
• 57:13
  Speaker 4: would you have a direct say in that? If you're
• 57:15
  Speaker 4: not if your ass is not in line. It's like,
• 57:19
  Speaker 4: I don't know, look at in the future. We look
• 57:21
  Speaker 4: back to linemen like the electricity company, and it was like,
• 57:26
  Speaker 4: that's like almost entirely male. If you look at who's dying,
• 57:28
  Speaker 4: it's entirely male. And then we look back and they say, oh, well,
• 57:32
  Speaker 4: men were making the decisions in the electric company. That
• 57:35
  Speaker 4: was disenfranchising women.
• 57:36
  Speaker 7: Yeah, bitch, because women weren't in it. They weren't doing
• 57:40
  Speaker 7: the work, so they didn't get a choice. They didn't
• 57:43
  Speaker 7: get a say over the work they weren't doing. That's
• 57:45
  Speaker 7: how I worked through most of human history. If you're
• 57:47
  Speaker 7: not doing the work, you don't get a say over it.
• 57:50
  Speaker 7: Like women did get a say, they just didn't get
• 57:53
  Speaker 7: a direct say. They got to agitate for war and
• 57:56
  Speaker 7: for men, avenging the the violations of their honor because
• 58:03
  Speaker 7: they failed to protect their police, but they didn't get
• 58:06
  Speaker 7: a direct say, and the political process was basically this
• 58:09
  Speaker 7: is where we decide about war, and women aren't expected
• 58:14
  Speaker 7: to take part, they aren't expected to put their labor
• 58:16
  Speaker 7: into it, So why would they have a say over
• 58:18
  Speaker 7: something they are not responsible for doing.
• 58:22
  Speaker 5: I'm just like this.
• 58:24
  Speaker 4: There is no patriarchal pressure oppression anywhere in history as
• 58:30
  Speaker 4: defined by feminists. Nowhere. You can't situate it in ancient Greece.
• 58:34
  Speaker 4: You sure as hell can't situate it in Rome. It's nowhere.
• 58:38
  Speaker 4: It doesn't exist, never happened. Okay, que d ye. Let
• 58:42
  Speaker 4: let's go have lunch. What okay? Okay, No, I'm just
• 58:48
  Speaker 4: I'm over selling.
• 58:50
  Speaker 1: I see all right, Let's keep going.
• 58:51
  Speaker 2: Then greater Lisias Lysius, somewhat defensively put it, lived so
• 58:58
  Speaker 2: respectfully that they are shamed at being seen even by
• 59:01
  Speaker 2: members of the family, and, in the words of Pericles,
• 59:05
  Speaker 2: would be least talked about by men, either for praise
• 59:08
  Speaker 2: or for blame. Yikes, I wouldn't call this a strata
• 59:14
  Speaker 2: feminist and also honestly, reading lysistrata in the way women.
• 59:19
  Speaker 4: Talk, how do we know? How do we know what
• 59:21
  Speaker 4: the condemnation of the elite class and their excesses.
• 59:29
  Speaker 1: She read an essay Alison, she formed an opinion as
• 59:33
  Speaker 1: a as an adult woman, I believe is her exact verbiage.
• 59:37
  Speaker 1: She's like twenty seven or twenty eight. She totally gets it.
• 59:42
  Speaker 1: She's grown. She won't be talking to like a little
• 59:45
  Speaker 1: girl anymore. M you're not my dad.
• 59:51
  Speaker 2: Okay, here's a line from kolonikey. But what can mere
• 59:56
  Speaker 2: women do that's intelligent or noble? We say around the
• 1:00:00
  Speaker 2: house looking pretty, wearing saffron dresses and makeup and canberrat
• 1:00:04
  Speaker 2: gowns and cano sized slippers. Yeah, that's how the women
• 1:00:09
  Speaker 2: in this place talk. It's actually really interesting. Lisi Strata
• 1:00:12
  Speaker 2: in this place seems to be the only woman who
• 1:00:15
  Speaker 2: has a plan, and she's just kind of bullying all
• 1:00:18
  Speaker 2: the other women into following her orders. And Lysistrata doesn't
• 1:00:22
  Speaker 2: talk about a husbands. Strata doesn't well.
• 1:00:25
  Speaker 1: Wait a minute, wait a minute though, Okay, so she
• 1:00:28
  Speaker 1: says that Let'sistrata bullies the other women into following orders.
• 1:00:32
  Speaker 1: But like, aren't a lot of Greek stories, There isn't
• 1:00:36
  Speaker 1: a lot of negotiation that goes on in them. There
• 1:00:39
  Speaker 1: isn't a lot of diplomacy. It's usually settled by force,
• 1:00:44
  Speaker 1: I think in Greek stories. Am I wrong about that?
• 1:00:46
  Speaker 1: Because that's kind of how I remember it, you know,
• 1:00:49
  Speaker 1: like the only, the only, the only hero that I
• 1:00:54
  Speaker 1: can think of that didn't do things that way was Odysseus,
• 1:00:57
  Speaker 1: and that was like, specifically, because that's what specific story
• 1:01:02
  Speaker 1: was calling for, was a different kind of heroes, like
• 1:01:06
  Speaker 1: a thinking man's hero. But in every other case, Hercules
• 1:01:09
  Speaker 1: just did whatever the fuck you wanted, you know what
• 1:01:11
  Speaker 1: I mean. So I'm just saying like she is applying
• 1:01:17
  Speaker 1: a modern lens to this, and it's allowing for a
• 1:01:21
  Speaker 1: lot of other uncharitable interpretations, I guess.
• 1:01:26
  Speaker 2: So talk about wanting to have sex, it's like she
• 1:01:30
  Speaker 2: is not a woman in this play, and all the
• 1:01:32
  Speaker 2: other women are just like, oh my goodness, a sex strike,
• 1:01:36
  Speaker 2: Oh my god.
• 1:01:37
  Speaker 1: Oh.
• 1:01:38
  Speaker 2: Just for another example, here, the older women the chorus
• 1:01:42
  Speaker 2: are talking to the older men, and the women's leader says, thus,
• 1:01:47
  Speaker 2: I owe it to the police to offer some good advice.
• 1:01:49
  Speaker 2: And even if I was born a woman, don't hold
• 1:01:52
  Speaker 2: it against me if I managed to suggest something better
• 1:01:54
  Speaker 2: than what we've got. Now, I have a stake in
• 1:01:57
  Speaker 2: our community. My contribution is men, you miserable geezers, have
• 1:02:01
  Speaker 2: no stake since you've squandered your paternal inheritance one in
• 1:02:04
  Speaker 2: the Persian Wars and now pay no taxes in return.
• 1:02:07
  Speaker 2: On the contrary, we're all headed for bankruptcy on account
• 1:02:10
  Speaker 2: of you. Have you anything to grunt and rebuttal any
• 1:02:13
  Speaker 2: more trouble from you and I'll claver you with this
• 1:02:15
  Speaker 2: raw hide boot right in the jaws.
• 1:02:18
  Speaker 3: She kicks him.
• 1:02:20
  Speaker 1: Nice, Okay, should I just keep going? Nobody's saying anything,
• 1:02:28
  Speaker 1: so it's awfully And.
• 1:02:29
  Speaker 3: Yet he didn't immediately backhander for doing so. Oh how
• 1:02:34
  Speaker 3: atriarchy works.
• 1:02:37
  Speaker 1: Yeah, yeah, he just sat there and took it.
• 1:02:39
  Speaker 4: Mm hmm. And that's not feminist for some reason, Like
• 1:02:44
  Speaker 4: what so her bullying other women isn't feminists? Well, but
• 1:02:53
  Speaker 4: it just so happens that feminism has the only ideological
• 1:02:58
  Speaker 4: framework for dehumanizing women that don't believe in feminism. But
• 1:03:03
  Speaker 4: feminism doesn't bully women. It doesn't bully them. It just
• 1:03:07
  Speaker 4: you'll call them pick mees if they don't agree, or handmaidens,
• 1:03:11
  Speaker 4: and basically says they have they don't have their own minds.
• 1:03:15
  Speaker 4: And you know, I mean it's stated a woman not
• 1:03:17
  Speaker 4: having her own mind is basically gollam and you can
• 1:03:19
  Speaker 4: really do whatever you want, but not bully. That's not bullying. Okay,
• 1:03:25
  Speaker 4: just keep going bying, all right.
• 1:03:28
  Speaker 2: The older women are like, guys, like, we just have
• 1:03:31
  Speaker 2: an idea, like we think there might be a problem,
• 1:03:33
  Speaker 2: like perhaps we stop having the war. Isn't that crazy?
• 1:03:36
  Speaker 5: But they win.
• 1:03:38
  Speaker 2: The women literally get control of the Athenian government, and
• 1:03:41
  Speaker 2: they're like, all right, boys, just stop. And then they
• 1:03:45
  Speaker 2: see all the power they have. No one in the
• 1:03:48
  Speaker 2: play thanks for a second, like maybe the government would
• 1:03:51
  Speaker 2: work better if we had some sort of equal partnership
• 1:03:54
  Speaker 2: of men and women. They they just don't. The other
• 1:03:57
  Speaker 2: two are also about women taking some sort of power
• 1:04:00
  Speaker 2: and then kind of immediately just seeding that power back
• 1:04:04
  Speaker 2: to the men. So the second play in this book
• 1:04:06
  Speaker 2: is called women.
• 1:04:06
  Speaker 3: Okay, I have to I have to okay, right, this
• 1:04:14
  Speaker 3: idea that it's like, oh if women, just if women
• 1:04:17
  Speaker 3: just did this, and that all of the things will
• 1:04:19
  Speaker 3: go away, there'd be all of this peace and tranquility. No,
• 1:04:23
  Speaker 3: this has been studied. Female rulers objectively start more wars
• 1:04:27
  Speaker 3: than men, probably because they're not expected to lead. They're
• 1:04:32
  Speaker 3: not expected to even be anywhere near the fighting. They
• 1:04:36
  Speaker 3: just sign bits of paper and send men off for
• 1:04:38
  Speaker 3: the They are more likely to do that. This idea
• 1:04:42
  Speaker 3: that in that these women were just sitting around going ooh,
• 1:04:46
  Speaker 3: maybe we should just like not have a war again.
• 1:04:50
  Speaker 3: Also probably not. This is another thing that's been studied.
• 1:04:53
  Speaker 3: Most of the agitators for war, in wars and before
• 1:04:57
  Speaker 3: wars are women. White feather campaign. That sort of stuff
• 1:05:01
  Speaker 3: was exactly that happened exactly the same way throughout history.
• 1:05:05
  Speaker 3: It just very frequently wasn't a white feather that they
• 1:05:07
  Speaker 3: would give to people. Women would just call men cowards.
• 1:05:10
  Speaker 3: They'd give them other things and any kind of sign,
• 1:05:12
  Speaker 3: any sort of symbol to say you're a coward because
• 1:05:15
  Speaker 3: you're not going to go and fight. Women push harder
• 1:05:21
  Speaker 3: for these sorts of things. They are not despite what
• 1:05:24
  Speaker 3: people say, when it comes to like state craft, women
• 1:05:26
  Speaker 3: are not more peaceful than men. They tend to actually
• 1:05:30
  Speaker 3: be apparently worse. And we go on to this idea
• 1:05:34
  Speaker 3: I'm just going to talk about it might as well
• 1:05:36
  Speaker 3: the sex strength thing. This idea that oh withholding sex
• 1:05:40
  Speaker 3: for men is going to stop this. I mean, first
• 1:05:41
  Speaker 3: of all, okay, congratulations, you've just acknowledged that the only
• 1:05:45
  Speaker 3: unit of currency that you understand and offer is sex.
• 1:05:47
  Speaker 3: Well done, congratulations, Very good of you to actually admit
• 1:05:51
  Speaker 3: that that's your major contribution to society because you can't
• 1:05:54
  Speaker 3: leverage anything else, Like we could just stop working. Well,
• 1:05:57
  Speaker 3: as it turns out, when women did that in what Iceland,
• 1:06:01
  Speaker 3: productivity did not decline, which actually meant that men's productivity
• 1:06:06
  Speaker 3: probably increased to make up for the lack of women.
• 1:06:11
  Speaker 3: Or it means that women's bottlenecking which slow of men down,
• 1:06:15
  Speaker 3: went away, so they were able to output the same
• 1:06:17
  Speaker 3: amount without these bottlenecks something like that. Anyway, you couldn't
• 1:06:21
  Speaker 3: do that, so you had to just sort of go,
• 1:06:23
  Speaker 3: oh okay, just just no sex. That'll be it. If
• 1:06:26
  Speaker 3: we're going to talk about that, let's talk about the
• 1:06:28
  Speaker 3: phenomenon that happens during war, which is marriages that get
• 1:06:32
  Speaker 3: rushed into during wars. A lot of those things happen.
• 1:06:37
  Speaker 3: Rates of divorces after wars increase, probably because a bunch
• 1:06:43
  Speaker 3: of people rush into them when wars are happening. So actually,
• 1:06:47
  Speaker 3: as it turns out, when wars happen, actually more sex
• 1:06:53
  Speaker 3: and marriages happen. Women actually do it more. Basically, because
• 1:06:57
  Speaker 3: they don't want to miss out on the fact that
• 1:06:59
  Speaker 3: the guy that they want it's probably going to go
• 1:07:01
  Speaker 3: and die somewhere. It would also be very interesting to
• 1:07:05
  Speaker 3: note the you know pages, you know, which guys are
• 1:07:10
  Speaker 3: getting that during there, because we know, well the slightly
• 1:07:14
  Speaker 3: loosely stated eighty twenty observation, which as more and more
• 1:07:18
  Speaker 3: time goes on, seems to be looking more like ninety
• 1:07:21
  Speaker 3: or ninety five if certain corners of the Internet are
• 1:07:24
  Speaker 3: to be believed by what the women in those particular
• 1:07:27
  Speaker 3: corners admit themselves, you know, be interesting to see that
• 1:07:32
  Speaker 3: all that wartime horniness, how evenly distributed that is so Really,
• 1:07:38
  Speaker 3: it's just I think everything that this woman takes from
• 1:07:41
  Speaker 3: these things, and possibly a good deal of what the
• 1:07:44
  Speaker 3: playwrights are putting in is just not going to be
• 1:07:49
  Speaker 3: backed up by reality. Now, obviously, the historically speaking, those
• 1:07:53
  Speaker 3: guys probably I mean, they don't have longitudinal studies over
• 1:07:57
  Speaker 3: centuries of rulers to go back on, because as obviously
• 1:08:02
  Speaker 3: that just wasn't possible at the time. But it's possible
• 1:08:05
  Speaker 3: that they knew or at least intuited things like this anyway,
• 1:08:10
  Speaker 3: and they just decided, hey, let's do something that's kind
• 1:08:14
  Speaker 3: of comical and shirical and just flop it on its
• 1:08:17
  Speaker 3: head because that's funny, in which case you get what
• 1:08:20
  Speaker 3: you've got here.
• 1:08:24
  Speaker 4: Yeah, it's it's funny because we may be very taking,
• 1:08:28
  Speaker 4: very very seriously a Benny Hill comedy sketch mm hmm,
• 1:08:33
  Speaker 4: like the equivalent from ancient ancient Greece. You know, you
• 1:08:38
  Speaker 4: know Benny Hill, right, Yeah, of course we should probably
• 1:08:44
  Speaker 4: have that as the backdrop. As we discussed with sister.
• 1:08:48
  Speaker 3: I do wonder increasingly how many people know the music
• 1:08:51
  Speaker 3: without knowing the sketches that it goes with.
• 1:08:54
  Speaker 1: Yackety sachs is the name of the song.
• 1:08:57
  Speaker 4: Yeah, maybe I think I'm crey. Yeah, I think that
• 1:09:02
  Speaker 4: it's become the funny meme music for many generations. Now, Yeah,
• 1:09:10
  Speaker 4: they don't need to know where it comes.
• 1:09:14
  Speaker 1: Yeah, let's keep going.
• 1:09:17
  Speaker 3: Before Yeah, and it's I had a thing that I
• 1:09:21
  Speaker 3: needed to end my mindless ranting with. I'm going to
• 1:09:25
  Speaker 3: know I'm going to join Allison in her promotion at
• 1:09:28
  Speaker 3: the end of what she said, and I'm going to
• 1:09:30
  Speaker 3: agree prandium consume a mush let's see lunch. Yeah, it
• 1:09:39
  Speaker 3: could be us, but I think consumer must works better
• 1:09:42
  Speaker 3: than edamus. It's a little less literal.
• 1:09:48
  Speaker 4: Yeah, I'll take your word for so.
• 1:09:50
  Speaker 5: I don't know.
• 1:09:52
  Speaker 3: Just like a meal consumer mus is consume but must
• 1:09:57
  Speaker 3: we ending mus is and just eat eat, but you
• 1:10:01
  Speaker 3: put muss on the end for wee. It's a good
• 1:10:05
  Speaker 3: old ending of words ost mustis and tea. There's some
• 1:10:08
  Speaker 3: people who studied Latin who have now gone, I remember
• 1:10:11
  Speaker 3: that along with you. Blum bloom bloomblee blow blah blah
• 1:10:14
  Speaker 3: blah blah blah and blease blease, etc. The three people
• 1:10:18
  Speaker 3: who studied Latin. They're going, yes, I know, I remember
• 1:10:21
  Speaker 3: these things.
• 1:10:22
  Speaker 5: I feel seen.
• 1:10:26
  Speaker 3: Okay, And I haven't done any of this since I
• 1:10:28
  Speaker 3: was sixteen, and half of what I've done is probably
• 1:10:31
  Speaker 3: still wrong. Anyway, I'm working with I'm working with shoe
• 1:10:36
  Speaker 3: strings here.
• 1:10:39
  Speaker 4: I don't even have shoe strings. I just have confusion.
• 1:10:43
  Speaker 3: I'm crying because it's funny, and this lets me try
• 1:10:46
  Speaker 3: to vaguely remember that in for the sake of comedy.
• 1:10:49
  Speaker 4: So why not, No, that's fine, I'm I I am
• 1:10:53
  Speaker 4: happy to be confused. It's better to be confused by
• 1:10:56
  Speaker 4: Latin than what's coming out of this woman's mouth. All right,
• 1:11:00
  Speaker 4: keep going, Bryan.
• 1:11:01
  Speaker 2: All right, ease, and they're gonna have him put on
• 1:11:06
  Speaker 2: trial and murdered for his portrayal of women in his plays.
• 1:11:10
  Speaker 2: And I learned from this book that Euripides is considered
• 1:11:13
  Speaker 2: a misogynist, which is quite interesting because I just read
• 1:11:18
  Speaker 2: Aristophane's play about Lysistrata, and I felt that it was
• 1:11:21
  Speaker 2: pretty misogynistic.
• 1:11:22
  Speaker 1: Apparently, what okay, who said he was whatever? Whatever? Whatever?
• 1:11:30
  Speaker 4: Wait?
• 1:11:30
  Speaker 1: Wait, wait, wait, no, everyone's a misogynst Like, come on, what?
• 1:11:34
  Speaker 4: Who was he considered a misogynist at the time?
• 1:11:38
  Speaker 1: Well, let me go back here.
• 1:11:40
  Speaker 6: And it's about this group of women who are very
• 1:11:44
  Speaker 6: mad at the playwright Euripides, and they're gonna have him
• 1:11:49
  Speaker 6: put on trial and murdered for his portrayal of women
• 1:11:52
  Speaker 6: in his plays.
• 1:11:53
  Speaker 2: And I learned from this book that Euripides is considered
• 1:11:57
  Speaker 2: a misogynist, which is quite interesting.
• 1:12:00
  Speaker 1: So Euripides is considered massagist by another book where he's
• 1:12:04
  Speaker 1: put on trial for being a misogynist. I guess, well,
• 1:12:08
  Speaker 1: did he get the death penalty because I understand that
• 1:12:10
  Speaker 1: that's what we're going towards.
• 1:12:13
  Speaker 4: Yeah, well, I'm pretty sure that this was one of
• 1:12:15
  Speaker 4: his plays, so I guess he was doing the meta thing.
• 1:12:19
  Speaker 4: Let me, I'll find out for sure. But all right, okay, okay,
• 1:12:23
  Speaker 4: oh okay, No, Actually it was Astrophans, so it was
• 1:12:26
  Speaker 4: his contemporary reputation. So Euripides who who wrote Leicester astrophaneses
• 1:12:34
  Speaker 4: Astrophanes not good lord, Okay, I'm gonna just spend a
• 1:12:42
  Speaker 4: moment being very embarrassed. Astrophanes built a whole play around it.
• 1:12:47
  Speaker 4: Oh my god, I'm going to send this to you, Brian,
• 1:12:49
  Speaker 4: and you can try to pronounce it, okay, now that
• 1:12:54
  Speaker 4: you're the official pronouncement, I don't know.
• 1:12:57
  Speaker 1: If i oh foors oh Waites Morphia Zoo says, I'm
• 1:13:09
  Speaker 1: just gonna say that I don't know how to pronounce it.
• 1:13:13
  Speaker 1: Are you saying? Another one.
• 1:13:16
  Speaker 4: Seesmo. He wrote a pole play around it called Fesmo,
• 1:13:21
  Speaker 4: which stages the women of Athens putting Euripides on trial
• 1:13:24
  Speaker 4: for his portrayal of women as mad, murderous, and sextually depraved.
• 1:13:27
  Speaker 4: The joke is at his expense. The women summon him
• 1:13:30
  Speaker 4: because he's the playwright who keeps writing them as killers
• 1:13:32
  Speaker 4: and adulteresses, and they want him stop before he reveals more.
• 1:13:35
  Speaker 4: The very existence of that comedy is evidence that Euripides
• 1:13:39
  Speaker 4: writes wicked women, already a known cultural complaint twenty years
• 1:13:43
  Speaker 4: into his career. Of his seventeen surviving tragedies, seven feature
• 1:13:49
  Speaker 4: women who commit attempt to plot murder. Medea and hip
• 1:13:54
  Speaker 4: Hippolytus Hipolitis were the most cited examples. Modern scholarship has
• 1:14:02
  Speaker 4: substantially revised this. The standard reading now is that Euripides
• 1:14:05
  Speaker 4: was unusual in giving women interiority and voice, that no
• 1:14:08
  Speaker 4: other tradition, tra tradition, tragedish, traged person who writes tragedy
• 1:14:15
  Speaker 4: gave them. Media's speeches articulate the structural position of married women.
• 1:14:20
  Speaker 4: So sharply, uh, the we women are the most wretched.
• 1:14:23
  Speaker 4: That the speeches were used in feminist and knowlogy analogies
• 1:14:26
  Speaker 4: is our anthologies as proto feminist texts. So he was
• 1:14:31
  Speaker 4: writing women as people who did, who could do terrible
• 1:14:34
  Speaker 4: things for articulable reasons.
• 1:14:37
  Speaker 1: Eh.
• 1:14:40
  Speaker 4: So this uh, this is uh, this is basically the
• 1:14:44
  Speaker 4: So at the time he was considered a misogynist for
• 1:14:48
  Speaker 4: recognizing that women could do evil things. He offered them
• 1:14:54
  Speaker 4: excuse making Well, I would I would honestly say that
• 1:14:57
  Speaker 4: it's just she's just making excuses Medea says the women
• 1:15:00
  Speaker 4: are we women are the most wretched as she kills
• 1:15:03
  Speaker 4: the new wife of her ex husband and the children.
• 1:15:08
  Speaker 4: Let's uh, I don't know, media, I think that's really
• 1:15:11
  Speaker 4: self serving. But you know, because Euripides gave women a voice,
• 1:15:16
  Speaker 4: apparently he was feminist in previous feminist scholarship, but now
• 1:15:21
  Speaker 4: I guess that even that is in question if you
• 1:15:25
  Speaker 4: even care about rapid Is being feminist or not, which
• 1:15:30
  Speaker 4: I don't know. I mean, basically, it's he's feminist depending
• 1:15:33
  Speaker 4: on what the person needs to what what the person
• 1:15:37
  Speaker 4: needs him to be in the moment.
• 1:15:40
  Speaker 1: Okay, yeah, I mean only feminists care whether or not
• 1:15:44
  Speaker 1: it is, but because they're trying to figure out like
• 1:15:47
  Speaker 1: how many things they can appropriate and claim. But uh okay,
• 1:15:51
  Speaker 1: so Great Indors gives us five dollars super child, thank
• 1:15:53
  Speaker 1: you Great Indoors and says just wanted to clear the
• 1:15:55
  Speaker 1: record and state that it was I Great Indoors slash
• 1:15:58
  Speaker 1: Karan Strong who this video ault of the Junkyard precisely
• 1:16:03
  Speaker 1: because til Deer referenced Medea a couple of times in
• 1:16:07
  Speaker 1: previous streams. As per usual, I'm ages behind the live stream,
• 1:16:11
  Speaker 1: so I have no idea how much suffering I cause
• 1:16:13
  Speaker 1: with this one. But I hope it served as a
• 1:16:14
  Speaker 1: jumping off point and or counter reference for what til
• 1:16:17
  Speaker 1: deer wanted to bring up fingers crossed. So it's his
• 1:16:21
  Speaker 1: fault you can blame.
• 1:16:23
  Speaker 3: Him desperately thinking oh, I should probably add something constructive
• 1:16:30
  Speaker 3: to this. Sure, that'll do. That was the thing women
• 1:16:34
  Speaker 3: have blamed men since forever.
• 1:16:36
  Speaker 1: Yep.
• 1:16:37
  Speaker 3: I'd also like to propose that instead of Euripides being
• 1:16:41
  Speaker 3: a feminist writer, we should probably try to claim him
• 1:16:43
  Speaker 3: as a men's rights writer or just a men's writer specifically,
• 1:16:48
  Speaker 3: so we can make the pun of eurippads notes.
• 1:16:55
  Speaker 4: There you go, All right, where are we?
• 1:16:58
  Speaker 1: Well? I mean, if he was, was he like like
• 1:17:00
  Speaker 1: also kind of philosophical because he may also have you know,
• 1:17:04
  Speaker 1: traps and lats to show off in the on the
• 1:17:07
  Speaker 1: floor of the.
• 1:17:08
  Speaker 3: Uh you know?
• 1:17:10
  Speaker 4: Okay, I think that. I think the play is called
• 1:17:13
  Speaker 4: These Mafria zoo so these Mafarea Zoosai, the the these
• 1:17:21
  Speaker 4: Mafia Zoosai, These Mafia Zousai, these Maffarea Zoosi. I think
• 1:17:28
  Speaker 4: that's how you pronounce the play if you're interested.
• 1:17:31
  Speaker 1: Okay, but yeah, that that's I won't have to say
• 1:17:34
  Speaker 1: it at any point soon.
• 1:17:36
  Speaker 4: But good to know now you need to memorize it. Okay,
• 1:17:40
  Speaker 4: let's uh, where are we at with this video?
• 1:17:42
  Speaker 1: Any This is only ten minutes in Alison, it's fifteen
• 1:17:44
  Speaker 1: minutes longer. You wanted to play it from the beginning.
• 1:17:46
  Speaker 1: I do have time codes, though I had those set
• 1:17:49
  Speaker 1: up from before.
• 1:17:52
  Speaker 4: Okay, yeah, I mean, honestly, where we have we have
• 1:17:57
  Speaker 4: been with the record on a lot of stuff here,
• 1:18:00
  Speaker 4: so and I mean it gives us an opportunity to
• 1:18:04
  Speaker 4: correct the record on the past, which we don't often
• 1:18:07
  Speaker 4: get right. And I mean one thing I want to
• 1:18:15
  Speaker 4: point out is, first of all, the seclusion and the
• 1:18:19
  Speaker 4: restriction only applied to elite women. But here's the thing.
• 1:18:23
  Speaker 4: Seclusion and restriction creates the situation that women can more
• 1:18:28
  Speaker 4: effectively shame men the more that they are reliant on men,
• 1:18:33
  Speaker 4: or are perceived to be reliant on men, Because honestly,
• 1:18:36
  Speaker 4: in ancient Greece, it's not really men restricting women, it's
• 1:18:40
  Speaker 4: biological reality restricting women. See, there's no public toilets, there's
• 1:18:45
  Speaker 4: a high degree of more maternal mentality. You don't you know,
• 1:18:50
  Speaker 4: there's no brass pumps. Lactation and childcare are significant constraints
• 1:18:55
  Speaker 4: on what women can do with their lives right, So
• 1:18:58
  Speaker 4: the ancient Greece women's role would not have changed. The
• 1:19:05
  Speaker 4: ancient Greeks could have changed all the laws and social
• 1:19:08
  Speaker 4: expectations on men and women to be like, yeah, anybody
• 1:19:11
  Speaker 4: can do whatever they want, and there would have been
• 1:19:14
  Speaker 4: no actual effective change for women because the constraints that
• 1:19:17
  Speaker 4: women were working under were not legal and not social.
• 1:19:20
  Speaker 4: They were biological.
• 1:19:22
  Speaker 1: Right.
• 1:19:23
  Speaker 4: But what happens is when you make when you shrine
• 1:19:26
  Speaker 4: those constraints in law and social expectation, women gained the
• 1:19:31
  Speaker 4: ability to shame men because now they're components of men's identities,
• 1:19:36
  Speaker 4: and if men can't live up to being men according
• 1:19:39
  Speaker 4: to the social expectations of their culture, women can shame them.
• 1:19:44
  Speaker 4: So if you say that you know, defending the household
• 1:19:47
  Speaker 4: is a part of men's identities socially, politically, and legally,
• 1:19:54
  Speaker 4: women can say, well, you haven't defended the household or
• 1:19:57
  Speaker 4: the polists enough, and you need to now go out
• 1:19:59
  Speaker 4: and fight a way or in order to avenge your
• 1:20:02
  Speaker 4: honor as a man. And you know, I'm in a
• 1:20:05
  Speaker 4: position where I am vulnerable to you. That means I
• 1:20:09
  Speaker 4: have that much more ability to shame you for your failures.
• 1:20:13
  Speaker 4: So I would I would honestly say that this doesn't
• 1:20:16
  Speaker 4: create like there's no, there's no. The actual restrictions on
• 1:20:21
  Speaker 4: women are created by biology. The ability to use those
• 1:20:24
  Speaker 4: restrictions is social coersion are created by these expectations, be
• 1:20:29
  Speaker 4: they social, legal, or political, And then it turns what
• 1:20:33
  Speaker 4: is a biological fact into a means by which women
• 1:20:38
  Speaker 4: extort men's behavior overall. Okay, I've just stepped in something
• 1:20:46
  Speaker 4: that is suspiciously close to where my dog lies down.
• 1:20:51
  Speaker 4: So I'm just I have no idea what it is.
• 1:20:52
  Speaker 4: I'm going to be quiet now for a bit while
• 1:20:54
  Speaker 4: I deal with this.
• 1:20:56
  Speaker 1: That's a bit of an overshare. But all right, all right,
• 1:20:59
  Speaker 1: maybe I will jump ahead to something that looks like
• 1:21:04
  Speaker 1: an argument. Do you guys mind that I'm going to
• 1:21:07
  Speaker 1: do that? Okay, so let me see here twelve twenty five,
• 1:21:16
  Speaker 1: we're right there.
• 1:21:17
  Speaker 2: Henderson suggests that Aristophanes was never seriously suggesting that women
• 1:21:23
  Speaker 2: should be able to make those decisions, that women should
• 1:21:25
  Speaker 2: hold any form of government power. He was more pointing out,
• 1:21:29
  Speaker 2: like what would happen if men neglected their responsibilities toward
• 1:21:32
  Speaker 2: the government. So, while I really enjoyed rereading this place,
• 1:21:37
  Speaker 2: I don't agree with the comment that I saw that
• 1:21:40
  Speaker 2: convinced me to reread them, that these are somehow misogynist
• 1:21:44
  Speaker 2: because the actors were played by men and they were
• 1:21:47
  Speaker 2: laughing at women.
• 1:21:48
  Speaker 3: I do think.
• 1:21:51
  Speaker 2: Yikes on rereading as like a grown adult, like just listen, because.
• 1:21:56
  Speaker 1: Grown adults they say yikes when they read stuff they
• 1:21:58
  Speaker 1: don't like. That's what adults do. I mean, it's an
• 1:22:03
  Speaker 1: interesting consideration that it's like you basically yeah, and they
• 1:22:09
  Speaker 1: see yeah, and they start by saying, as a grown adult.
• 1:22:14
  Speaker 5: Yikes, said well I said, but I've never said.
• 1:22:22
  Speaker 4: As a grown adult yikes.
• 1:22:25
  Speaker 1: Needs like are But anyway, it is an interesting take
• 1:22:35
  Speaker 1: to think that maybe this was a play that was
• 1:22:39
  Speaker 1: written to make fun of or to sort of show
• 1:22:43
  Speaker 1: what might happen to men if they abandon their responsibilities,
• 1:22:46
  Speaker 1: because I think that as a conversation is a far
• 1:22:48
  Speaker 1: more consequential one than women taking over a treasury or
• 1:22:55
  Speaker 1: or some kind of female empowerment thing. Because like it's
• 1:22:58
  Speaker 1: like til Deer said earlier, like we are living in
• 1:23:01
  Speaker 1: a time in history where people are so comfortable and
• 1:23:07
  Speaker 1: so protected and so safe and around so much abundance
• 1:23:13
  Speaker 1: that they can so easily take for granted everything they
• 1:23:17
  Speaker 1: have and complain about stuff in the past and pretend
• 1:23:21
  Speaker 1: like they have any understanding at all of what life
• 1:23:24
  Speaker 1: was like literally survival mode. For most of human history
• 1:23:29
  Speaker 1: we were in survival mode. And only very very recently
• 1:23:32
  Speaker 1: have we been able to, like, you know, live the
• 1:23:35
  Speaker 1: way we do and we fucking complain, and we also,
• 1:23:39
  Speaker 1: by the way, pretend like people in the past were
• 1:23:41
  Speaker 1: so inferior. It's incredibly arrogant that that's actually also a
• 1:23:48
  Speaker 1: crazy thing. But anyway, Strata, you.
• 1:23:53
  Speaker 2: Have suffered for twenty years in an endless war that
• 1:23:57
  Speaker 2: you don't believe in. You've gained control of life, the
• 1:24:00
  Speaker 2: entirety of Athens like treasury, and you just say stop it, boys,
• 1:24:06
  Speaker 2: and you give it back like you don't keep any
• 1:24:08
  Speaker 2: of the power.
• 1:24:09
  Speaker 3: Is wild.
• 1:24:10
  Speaker 2: It's wild to me. It's just like the.
• 1:24:13
  Speaker 1: Less because they can't keep.
• 1:24:15
  Speaker 3: Maybe they didn't want the responsibility that goes with the power.
• 1:24:19
  Speaker 3: Maybe they understood something that you women seem to have
• 1:24:23
  Speaker 3: forgotten in the modern era. Hmmm, something that Uncle Ben
• 1:24:29
  Speaker 3: would like to remind you about for the opteenth time.
• 1:24:33
  Speaker 4: Mm hm, Yes, well, I was gonna say that they couldn't.
• 1:24:42
  Speaker 4: The thing is that what what are they going to do?
• 1:24:44
  Speaker 4: They may be able to stop a war or start
• 1:24:46
  Speaker 4: a war, but they can't prosecute a war. You're gonna go,
• 1:24:50
  Speaker 4: Uh's just let's estrata. What would she be able to do?
• 1:24:53
  Speaker 4: Should she beat the other women? She bullied the other
• 1:24:55
  Speaker 4: women into picking up a spear and in a shield
• 1:25:00
  Speaker 4: and go forming ATLANTICX and phallonix. How do you say that? Fine, palanx,
• 1:25:09
  Speaker 4: phalanx and uh and going and fighting wars. That's you.
• 1:25:13
  Speaker 4: You're already complaining that Lisistrata is bullying women into becoming
• 1:25:18
  Speaker 4: political actors. What are you gonna do Whenlysistrata bullies women
• 1:25:23
  Speaker 4: into fighting wars and getting themselves killed?
• 1:25:28
  Speaker 1: Right?
• 1:25:28
  Speaker 4: So I mean, like, but what why is it that
• 1:25:31
  Speaker 4: it's so important they stop the war? Like, if let's
• 1:25:35
  Speaker 4: assume that the play's logic is correct, they stopped the war,
• 1:25:39
  Speaker 4: and then we just didn't add in some context, women
• 1:25:41
  Speaker 4: also started wars or at least agitated for them in
• 1:25:44
  Speaker 4: the ancient world. So women can start wars, they can
• 1:25:47
  Speaker 4: agitate for wars, but they can't prosecute wars. Is it
• 1:25:51
  Speaker 4: that important to be able to prosecute a war when
• 1:25:54
  Speaker 4: you can start and stop one is it is that
• 1:25:58
  Speaker 4: really where the power lies. I mean, this is like
• 1:26:01
  Speaker 4: this this thinking that she has is she's like seizing
• 1:26:04
  Speaker 4: victimhood from the jaws of victory here, Like, once women
• 1:26:08
  Speaker 4: are able to start and stop wars, prosecuting them is irrelevant,
• 1:26:13
  Speaker 4: all right, Once women are able to spend more than men,
• 1:26:17
  Speaker 4: earning as much as men is irrelevant. And this is
• 1:26:20
  Speaker 4: consistent with feminists. They'd like walk around like the victory
• 1:26:24
  Speaker 4: the victory podum is right there. They walk around it
• 1:26:29
  Speaker 4: to go and get to the place where they can
• 1:26:31
  Speaker 4: say that they are victims and they have failed, and
• 1:26:34
  Speaker 4: they don't they don't have any actual control, and they
• 1:26:36
  Speaker 4: just wall over there and they have to deliberately, they
• 1:26:39
  Speaker 4: have to use a cognitive process that denies reality to
• 1:26:45
  Speaker 4: land always on the most victimhood eyed version of reality.
• 1:26:51
  Speaker 4: Like you see what I'm saying, Like if these women
• 1:26:53
  Speaker 4: are stopping and starting war, who cares? Who prosecutes it?
• 1:26:59
  Speaker 1: Yeah? No, Well here's there's another thing too, is there there?
• 1:27:04
  Speaker 1: Look what was the what was what was that war about?
• 1:27:08
  Speaker 1: Because the way that she talks about war in this context,
• 1:27:13
  Speaker 1: it sounds like this is just something that shouldn't happen
• 1:27:16
  Speaker 1: it's like two little boys like fighting over like a
• 1:27:19
  Speaker 1: cookie or something and they're not sharing. But what is
• 1:27:22
  Speaker 1: the war? What was it actually about? Like was it
• 1:27:24
  Speaker 1: where the stakes high? Could you just simply wish it
• 1:27:28
  Speaker 1: just wasn't happening? Like we just don't live in a
• 1:27:31
  Speaker 1: world that doesn't have conflict. So how childish is it
• 1:27:37
  Speaker 1: to just to even think of what was going on
• 1:27:40
  Speaker 1: at the time and just be like, why were those
• 1:27:42
  Speaker 1: men fighting? Well, they shouldn't be fighting. Why don't we
• 1:27:46
  Speaker 1: just stop it? Can we just stop it? It's like, no,
• 1:27:49
  Speaker 1: I think that what's probably going on? And I don't
• 1:27:53
  Speaker 1: know what the what the like I said, I don't
• 1:27:55
  Speaker 1: I don't know what the war was over. But it
• 1:27:58
  Speaker 1: was either over territory or resource, So what was it like?
• 1:28:02
  Speaker 1: I don't think it was just like some guys, you know,
• 1:28:04
  Speaker 1: stepped on some other guys like something.
• 1:28:08
  Speaker 4: You know.
• 1:28:10
  Speaker 3: Yeah, farmland in large parts. Farmland in large parts. Some
• 1:28:17
  Speaker 3: of it also came from trade through some of the
• 1:28:20
  Speaker 3: islands in the A, G and C. I think some
• 1:28:22
  Speaker 3: of them got taken over or bockaded or something. But yeah,
• 1:28:26
  Speaker 3: it was basically farmland because people were on the bottom
• 1:28:30
  Speaker 3: tiers of Mathlos hierarchy or access to certain trade routes.
• 1:28:34
  Speaker 4: So yeah, resources, yeah, yeah, well okay, Soltikey the pronunciation.
• 1:28:49
  Speaker 4: So one of the people who fought and wrote the
• 1:28:51
  Speaker 4: history of it said the truest cause was spartan fear
• 1:28:54
  Speaker 4: of growing Athenian power, which probably includes Athenian control over resources,
• 1:28:58
  Speaker 4: which what is you while you grow power? And here's
• 1:29:02
  Speaker 4: the thing, like women like to separate war from resources,
• 1:29:06
  Speaker 4: and it's you can't. And I actually, like, I'm thinking,
• 1:29:10
  Speaker 4: and this is just a hypothesis that human beings might
• 1:29:14
  Speaker 4: actually need war for the continuation of the species. Up
• 1:29:19
  Speaker 4: to this point in time, when in the Industrial Revolution
• 1:29:22
  Speaker 4: made us so much more productive that we didn't have
• 1:29:26
  Speaker 4: these constant fights over resources. Of course, now we have
• 1:29:29
  Speaker 4: fights over distribution of resources, but let's i'll put that aside.
• 1:29:32
  Speaker 4: And the reason why I say that is it's possible
• 1:29:35
  Speaker 4: that a human civilization would need to appropriate the resources
• 1:29:39
  Speaker 4: of other groups or tribes or policies or countries need
• 1:29:45
  Speaker 4: to appropriate the resources of other groups to be able
• 1:29:48
  Speaker 4: to maintain themselves. So there's no there is no peace.
• 1:29:51
  Speaker 4: It's like wolves need to have territory contests because they
• 1:29:56
  Speaker 4: can't all exist in peace. They have to have a
• 1:30:00
  Speaker 4: certain amount of territory, they have to get into wars
• 1:30:03
  Speaker 4: with or fights with other wolf packs because there's there's
• 1:30:07
  Speaker 4: not a carrying The carrying capacity is insufficient for maintaining
• 1:30:12
  Speaker 4: all of the potential wolves that are born. Maybe humans
• 1:30:15
  Speaker 4: are the same way, and that's when you look back.
• 1:30:17
  Speaker 4: In like tribal societies, they're in constant territorial conflicts with
• 1:30:21
  Speaker 4: each other. So that process is almost it's not I
• 1:30:25
  Speaker 4: wanted to just say it's a it's like a something
• 1:30:29
  Speaker 4: that is a negative. Well, it is a negative, I suppose,
• 1:30:35
  Speaker 4: but it may also be the only reason why we
• 1:30:37
  Speaker 4: survived up to this point is that process of appropriating
• 1:30:40
  Speaker 4: resources from other cultures. So when we look back, I
• 1:30:45
  Speaker 4: mean we look back from a position of having gotten
• 1:30:47
  Speaker 4: to the point which we are losing by the way,
• 1:30:50
  Speaker 4: guys gotten to the point where our technology is so
• 1:30:54
  Speaker 4: productive that we don't have to appropriate resources from other
• 1:30:58
  Speaker 4: groups in order to survive. But it isn't necessary, right.
• 1:31:02
  Speaker 4: But if it is that warfare is actually just an
• 1:31:06
  Speaker 4: extreme outlier of getting the resources necessary for your group's survival,
• 1:31:12
  Speaker 4: then warfare is on a continuum with other male activities
• 1:31:15
  Speaker 4: like building infrastructure, farming, or like the more extreme aspects
• 1:31:20
  Speaker 4: of farming that require more labor, not just like planting
• 1:31:24
  Speaker 4: and whatever else. So it's just another form of resource gathering,
• 1:31:30
  Speaker 4: which means you can't separate, you can't put it on
• 1:31:32
  Speaker 4: its own as its own unique horror. It is also
• 1:31:38
  Speaker 4: part of the same thing that causes men to sacrifice
• 1:31:40
  Speaker 4: them to build the Thames Tunnel and the Hoover Dam.
• 1:31:45
  Speaker 4: So if you are going to look at war and
• 1:31:47
  Speaker 4: blame that on men, then you also have to disavow
• 1:31:50
  Speaker 4: all of the benefits of men's sacrifice in every other
• 1:31:53
  Speaker 4: form of resource gathering. And I'm not saying that war
• 1:31:55
  Speaker 4: isn't uniquely horrible because it's an But at the same
• 1:32:02
  Speaker 4: time as I don't think it's something that you can
• 1:32:03
  Speaker 4: say that men are uniquely responsible for because they're not
• 1:32:08
  Speaker 4: doing it because they just want to kill people. They're
• 1:32:11
  Speaker 4: doing it because they want to protect and provide for
• 1:32:13
  Speaker 4: their people. And if you're gonna say all war is horrible,
• 1:32:17
  Speaker 4: then I suggest, lady, you live in a yurt and
• 1:32:21
  Speaker 4: drink yack milk that you farm or that you that
• 1:32:25
  Speaker 4: you heard, and give up your electricity and give up
• 1:32:28
  Speaker 4: your heating and interior. And you know, Paul water from
• 1:32:31
  Speaker 4: the stream, because all of that stuff is a product
• 1:32:36
  Speaker 4: of the same ability or desire for men to sacrifice
• 1:32:40
  Speaker 4: to provision for their communities as war is. See, do
• 1:32:45
  Speaker 4: you get what I'm saying? Yeah, Okay, good, I feel
• 1:32:49
  Speaker 4: like I've conveyed a thing. Excellent.
• 1:32:52
  Speaker 3: Okay, I'm going to go further and say that it's
• 1:32:55
  Speaker 3: actually the extreme productivity of men that we can still
• 1:33:02
  Speaker 3: we're still based on this resource moving around, but because
• 1:33:06
  Speaker 3: technology is allowed for such insane levels of productivity, we
• 1:33:10
  Speaker 3: can now do all of this stuff quick enough for
• 1:33:13
  Speaker 3: it to be feasible and peacefully and mutually enough that
• 1:33:17
  Speaker 3: we can just do it without the need for any
• 1:33:20
  Speaker 3: sort of violence, which is kind of I think. Also
• 1:33:23
  Speaker 3: the very biggest thing, like we literally no longer have
• 1:33:26
  Speaker 3: to fight over bread. We throw bread away in the
• 1:33:30
  Speaker 3: hundreds of millions of tons every day because it's sat
• 1:33:33
  Speaker 3: on the shelf for twenty four hours. It'll still be
• 1:33:38
  Speaker 3: good for another week or two, maybe up to a month,
• 1:33:40
  Speaker 3: but you know, it's been sitting there for a day,
• 1:33:43
  Speaker 3: so yeah, you know, we'll have another you know, one
• 1:33:46
  Speaker 3: hundred tons of it arriving tomorrow, so it doesn't matter, okay.
• 1:33:53
  Speaker 4: And and of course men don't get credit for having
• 1:33:58
  Speaker 4: resolved at least the resource aspect of war, but they
• 1:34:02
  Speaker 4: still get blamed for having engaged in war and those
• 1:34:06
  Speaker 4: times where it was unavoidable. Okay.
• 1:34:10
  Speaker 3: Literally, the reason we don't war as much over resources
• 1:34:13
  Speaker 3: is because we have made everything to the point where
• 1:34:15
  Speaker 3: it just doesn't need to happen.
• 1:34:18
  Speaker 4: Mm hmm. Although it seems like we're still we still
• 1:34:22
  Speaker 4: get into them a bit.
• 1:34:23
  Speaker 3: Yeah, we still have to do some things, but it's
• 1:34:26
  Speaker 3: it's not like it's not like, oh, food, okay, now
• 1:34:32
  Speaker 3: it's just oil.
• 1:34:34
  Speaker 1: Yeah, all right, all right, I got a super chow
• 1:34:40
  Speaker 1: from Richard Bierre for five dollars and he says Romanes
• 1:34:43
  Speaker 1: and newt Dome.
• 1:34:45
  Speaker 6: Um.
• 1:34:46
  Speaker 1: Okay. The concept of being seen is pretty much Peggy
• 1:34:49
  Speaker 1: Hill from many episodes of King of a Hill. Only
• 1:34:52
  Speaker 1: Americans might get the reference. I didn't watch that show,
• 1:34:55
  Speaker 1: so sorry, not like a big Mike guy. So all right, yeah,
• 1:35:03
  Speaker 1: so he said Romanes a new Domum. Oh that's it.
• 1:35:07
  Speaker 1: I don't know what that means, but he said that,
• 1:35:10
  Speaker 1: So thank you Richard for that.
• 1:35:12
  Speaker 4: Oh. Actually, before we continue, Kronstrong sent me a message directly.
• 1:35:17
  Speaker 4: I'm an hour behind, but Brian is stating that this
• 1:35:19
  Speaker 4: woman is just a normal woman talking about benign stuff.
• 1:35:22
  Speaker 4: Please note that this is her second channel and her
• 1:35:25
  Speaker 4: main channel is about physics, but with a feminist twist,
• 1:35:28
  Speaker 4: meaning that she has talked about harassment and science departments
• 1:35:31
  Speaker 4: and stuff, and how Richard Fineman was a bit shady.
• 1:35:35
  Speaker 1: Who's Richard Feyneman, See the guy that was on the
• 1:35:38
  Speaker 1: Epstein list and had to like resign. I think that's
• 1:35:43
  Speaker 1: who that is. And I didn't say that she's I
• 1:35:47
  Speaker 1: didn't say that she's benign. I'm saying her channel's relatively benign,
• 1:35:50
  Speaker 1: but she's not an activist. What I'm saying is is
• 1:35:53
  Speaker 1: that this is not manifestel or queer Kiwi or brianny.
• 1:36:00
  Speaker 1: This is not like a channel devoted to feminism. That's
• 1:36:03
  Speaker 1: what I'm saying. And yeah, so uh it means wrong home,
• 1:36:10
  Speaker 1: That's what it means. Okay.
• 1:36:12
  Speaker 4: American theoretical physicists born nineteen eighteen died nineteen eighty eight,
• 1:36:17
  Speaker 4: so I'm pretty sure he missed the Epstein list. Worked
• 1:36:20
  Speaker 4: on the Manhattan Project at Los Angelos in his twenties,
• 1:36:23
  Speaker 4: shared the nineteen sixty five Nobel Prize in Physics for
• 1:36:27
  Speaker 4: quantum electro dynamics taught at cal Tech. All right, he
• 1:36:34
  Speaker 4: is a particular cultural status because he combined first rank
• 1:36:37
  Speaker 4: physics with an unusual willingness to explain things plainly and
• 1:36:41
  Speaker 4: a strong instinct against intellectual pretense. Uh, the video thinks
• 1:36:51
  Speaker 4: he's shady. Okay. No. Fieman died in nineteen eighty eight.
• 1:36:58
  Speaker 4: Epstein's documented activities ran from the early nineties through twenty nineteen.
• 1:37:03
  Speaker 4: So you are way off, Brian. I think everybody needs
• 1:37:05
  Speaker 4: to scrub that association from their brains.
• 1:37:08
  Speaker 1: Oh, she just said shady. I didn't. I was just
• 1:37:11
  Speaker 1: asking why I didn't know because there was like a
• 1:37:14
  Speaker 1: recent teacher who had a name in the same let's say,
• 1:37:21
  Speaker 1: that had the same ring to it, and I just
• 1:37:24
  Speaker 1: had him confused for somebody else.
• 1:37:26
  Speaker 4: Okay. So there are critiques of him. He had affairs,
• 1:37:29
  Speaker 4: his treatment of his second wife and the divorce. I
• 1:37:31
  Speaker 4: don't know any details on that.
• 1:37:33
  Speaker 1: That's probably what she asked.
• 1:37:35
  Speaker 4: And waitresses, the surely you're joking bongo and pick up
• 1:37:39
  Speaker 4: artist persona he cultivated. So he might have, I don't know,
• 1:37:45
  Speaker 4: had sex with women, presumably willing.
• 1:37:47
  Speaker 1: He may have been, Yeah, he may have been a
• 1:37:48
  Speaker 1: little He may have been a little unloyal to the wife.
• 1:37:54
  Speaker 4: Okay, all right, so that's that's the shadiness component. Okay,
• 1:38:01
  Speaker 4: so we are forty minutes after the hour. Do you
• 1:38:05
  Speaker 4: want to recaan?
• 1:38:07
  Speaker 1: We can do that, whatever you guys want to do.
• 1:38:10
  Speaker 3: I am going to express my appreciation for the correct
• 1:38:13
  Speaker 3: use of nt on aunt.
• 1:38:19
  Speaker 4: What okay?
• 1:38:19
  Speaker 3: To Richard, I'm sam yes, because the Roman romans but
• 1:38:24
  Speaker 3: ao is go and domum home. Obviously you am on
• 1:38:28
  Speaker 3: the end turns into an object. But he actually used
• 1:38:30
  Speaker 3: the correct endingn't NTI they ending? So it's literally Romans
• 1:38:34
  Speaker 3: go they home.
• 1:38:36
  Speaker 1: Ah.
• 1:38:38
  Speaker 3: That's what I was talking earlier with the must ending
• 1:38:40
  Speaker 3: of things and the oststicant. He knows his ostmsticety. I
• 1:38:44
  Speaker 3: am appreciating the day end.
• 1:38:47
  Speaker 4: God damn. That's from the Life of Brian. Yes, that's
• 1:38:54
  Speaker 4: that's what Brian was forced by the centurion to write
• 1:38:58
  Speaker 4: in letters twenty foot hi on the Roman Administrative building.
• 1:39:05
  Speaker 4: Have you seen Life of Brian Tielder?
• 1:39:07
  Speaker 1: I have, yes.
• 1:39:08
  Speaker 3: So that's also probably where the bloom blom bloom blow
• 1:39:10
  Speaker 3: blah blah blah blah blah and plice police comes from.
• 1:39:12
  Speaker 3: That's deplension using the word bellum, which is war, and
• 1:39:16
  Speaker 3: it's going like you he, she, it, we, you they.
• 1:39:18
  Speaker 3: It's how you do it. So you know, O S
• 1:39:20
  Speaker 3: you mustice and T O I so ambul oh I
• 1:39:24
  Speaker 3: walk s is U singular so ambulose you walk singular
• 1:39:30
  Speaker 3: t he she or it ambulat he she or it walks.
• 1:39:33
  Speaker 3: Ambul Armus must we ambul armus we walk ambulartists tiss
• 1:39:39
  Speaker 3: you plural multiples of them, So you walk ambulant n
• 1:39:44
  Speaker 3: T they they walk plural, So putting the n T
• 1:39:48
  Speaker 3: on the end of that ant turns into they go.
• 1:39:53
  Speaker 3: I just I am appreciating the correct use of yes,
• 1:39:59
  Speaker 3: the correct use the nt on the end.
• 1:40:01
  Speaker 1: There.
• 1:40:01
  Speaker 3: I appreciate that you have been noticed, you have been.
• 1:40:06
  Speaker 4: Seeing Richard also that I feel like I've just experienced
• 1:40:13
  Speaker 4: a great deal of classic Britishness right there.
• 1:40:17
  Speaker 3: Oh yes, it's just learning Latin is a very public
• 1:40:20
  Speaker 3: school thing which I went to. It's the same sorts
• 1:40:24
  Speaker 3: of the institutions that the Monty Python guys went to.
• 1:40:26
  Speaker 3: They're all like public school boys. It's basically middle and
• 1:40:30
  Speaker 3: upper middle classish thing.
• 1:40:34
  Speaker 4: Yeah, like I said, I feel like we've been treated
• 1:40:36
  Speaker 4: to some deeply British like just just just a little
• 1:40:43
  Speaker 4: glimpse into.
• 1:40:44
  Speaker 3: A very old way of doing things, back back in
• 1:40:47
  Speaker 3: the day when the school ran from nine till four
• 1:40:52
  Speaker 3: and you had Saturday school all sorts of things like that,
• 1:40:57
  Speaker 3: and you wore shorts and caps. Before you know, we
• 1:41:01
  Speaker 3: started getting into the nineties and all everything had to
• 1:41:04
  Speaker 3: be hip and cool and down with the kids and
• 1:41:07
  Speaker 3: radical to the max. And now the classic way of
• 1:41:11
  Speaker 3: doing it. You know, when sixth form wasn't actually something
• 1:41:14
  Speaker 3: that happened when you were seventeen eighty. No, no, that
• 1:41:16
  Speaker 3: sixth form. Sixth form was thirteen and then you went
• 1:41:20
  Speaker 3: on from there, you know, when you had weird class
• 1:41:23
  Speaker 3: names like remove, and then you went to sixth form
• 1:41:26
  Speaker 3: and then beyond that to GCSE, which when you get
• 1:41:29
  Speaker 3: people who go from the old year system to the
• 1:41:32
  Speaker 3: new one, ends up very confusing for them because they
• 1:41:34
  Speaker 3: then go from sixth form to like year three or four.
• 1:41:37
  Speaker 3: I think it is. This is why when people use
• 1:41:38
  Speaker 3: the new year system, they're like, oh, year two. I'm like,
• 1:41:41
  Speaker 3: what the hell is that. I don't know what that
• 1:41:43
  Speaker 3: means for like school age because I used the old system.
• 1:41:49
  Speaker 3: It confuses me. I like, I said, this is this
• 1:41:55
  Speaker 3: is old British. The old proper way of doing things.
• 1:41:59
  Speaker 3: It's also why I speak the way that I do.
• 1:42:01
  Speaker 3: It's a little bit of received pronunciation there. I'm not
• 1:42:04
  Speaker 3: fantastic at it. I will admit I do occasionally slip
• 1:42:07
  Speaker 3: back into the more Cockney and or Jack speak way
• 1:42:11
  Speaker 3: of doing things, but I try. I'm deconditioning myself. I'm
• 1:42:17
  Speaker 3: going back to how I was actually properly taught to
• 1:42:20
  Speaker 3: speak proper I do.
• 1:42:25
  Speaker 4: Yeah, I just I just have a broad mid mid
• 1:42:28
  Speaker 4: north Midwestern accent.
• 1:42:33
  Speaker 3: Gabriel has noted in the chat, this is actually a
• 1:42:35
  Speaker 3: very important thing for people to know when when I
• 1:42:37
  Speaker 3: say public school in the UK, that's a private school.
• 1:42:42
  Speaker 1: M hm.
• 1:42:43
  Speaker 4: I knew that. I knew that. I feel accomplished.
• 1:42:48
  Speaker 3: Okay, so let's for what everyone normally called public schools.
• 1:42:53
  Speaker 3: For you in America, that is what we would call
• 1:42:55
  Speaker 3: a state school public school. Here is what you guys
• 1:42:58
  Speaker 3: would call private.
• 1:43:00
  Speaker 1: I see, all right, we.
• 1:43:05
  Speaker 3: Just have to we have to confuse everyone. That's what
• 1:43:07
  Speaker 3: we do. So I think the wizards, what do you expect?
• 1:43:14
  Speaker 4: I think this is probably like in terms of places
• 1:43:17
  Speaker 4: to to leave off her finally figuring out what her
• 1:43:23
  Speaker 4: opinion of like sister sistra.
• 1:43:27
  Speaker 1: Strata.
• 1:43:28
  Speaker 4: Lysistrata is a good place. And then we'll pick up
• 1:43:34
  Speaker 4: on a more in depth look in what her opinion
• 1:43:36
  Speaker 4: of media is, because again, remember guys, Lesistrata ended a war,
• 1:43:43
  Speaker 4: she took over a treasury, ended a war, she reflected.
• 1:43:46
  Speaker 4: And also, this is all just this is all fiction. Again,
• 1:43:50
  Speaker 4: it's fiction from you know, two hundred and twenty five
• 1:43:54
  Speaker 4: hundred years ago, but it's still fiction. And possibly we're
• 1:43:57
  Speaker 4: talking about a play that was originally received the way
• 1:44:00
  Speaker 4: Benny Hill comedy Sketch would have been received today, So
• 1:44:05
  Speaker 4: you gotta consider that, you gotta consider that context. But
• 1:44:08
  Speaker 4: also Lisistrata was responsible for ending a war that was
• 1:44:12
  Speaker 4: not popular and people were exhausted by, whereas Medea killed
• 1:44:17
  Speaker 4: her children. And this the proposal here is that media
• 1:44:21
  Speaker 4: is far more feminist than less estrata. And I'll leave
• 1:44:25
  Speaker 4: that you know what that actually says about feminism as
• 1:44:27
  Speaker 4: an exercise to the viewer. And I'll also remind you
• 1:44:31
  Speaker 4: if you wanna, if you want to tell us your
• 1:44:34
  Speaker 4: your wisdoms on that score, send them to feed the
• 1:44:36
  Speaker 4: Badger dot com slash just the tip. Let's feed the
• 1:44:39
  Speaker 4: Badger dot com slash just the tip. Feel free to
• 1:44:41
  Speaker 4: write them in Latin.
• 1:44:44
  Speaker 3: And maybe ifs aren't to Google translate for that it
• 1:44:48
  Speaker 3: will get the grammar completely wrong. Loan your declensions.
• 1:44:54
  Speaker 4: Okay and send them to feed the Badger dot com
• 1:44:57
  Speaker 4: slash just the tip. And if you want to support
• 1:44:59
  Speaker 4: the show so you can can ttinue to get this
• 1:45:00
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• 1:45:04
  Speaker 4: slash support very much appreciated to help us out so
• 1:45:07
  Speaker 4: we can continue to do this. And if you want
• 1:45:09
  Speaker 4: any more in depth analysis, you like what you're hearing
• 1:45:12
  Speaker 4: and you want to understand more, you want to understand
• 1:45:16
  Speaker 4: the squirrel tracks I leave to a greater degree, go
• 1:45:20
  Speaker 4: to Badger Nation dot online. That's our discord and I
• 1:45:23
  Speaker 4: have a channel there where I post more information and
• 1:45:26
  Speaker 4: I also respond to questions. So the three things or
• 1:45:29
  Speaker 4: feed Thebadger dot com slash just the tip if you
• 1:45:31
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• 1:45:33
  Speaker 4: Badger dot com slash support if you want to support
• 1:45:36
  Speaker 4: the show for the month, and Badger Nation dot online
• 1:45:38
  Speaker 4: if you want to engage with us more, so bnd
• 1:45:42
  Speaker 4: it to you, Brian.
• 1:45:44
  Speaker 1: Okay, Well, if you guys like this video, please hit
• 1:45:46
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• 1:45:50
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• 1:45:52
  Speaker 1: think about what we discussed on the show today, and
• 1:45:54
  Speaker 1: share the video because Sharry is caring. Thanks so much
• 1:45:57
  Speaker 1: for coming on this episode of Maintaining Frame with Teal
• 1:46:00
  Speaker 1: dear who I appreciate for coming on, And we'll talk
• 1:46:03
  Speaker 1: to you guys in the next one. See you next.
• 1:46:06
  Speaker 1: We'll have a good weekend. If we don't see you
• 1:46:07
  Speaker 1: before then three two