Latest / Honey Badger Radio / The Male Gaze is back and it's coming for everyone! | Maintaining Frame 185

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The Male Gaze is back and it's coming for everyone! | Maintaining Frame 185 · Honey Badger Radio

• 0:00
  Speaker 1: Hello everybody, and welcome back to Honey Badger Radio. My
• 0:03
  Speaker 1: name is Brian. I'm here with Allison and this is
• 0:05
  Speaker 1: maintaining frame number one eighty five. The male gaze is back, boys,
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  Speaker 1: and it's coming for everybody.
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  Speaker 2: It meets back on the menu.
• 0:14
  Speaker 1: Yep, it looks like female meets back on the menu boys.
• 0:19
  Speaker 1: So yeah, Alison, you were going to do the things,
• 0:23
  Speaker 1: and all right, we'll talk about what we're doing today.
• 0:26
  Speaker 2: Okay, So if you want to send a message at
• 0:28
  Speaker 2: any point throughout the show or give us a tip,
• 0:30
  Speaker 2: it's Feedbadger dot com slash just the tip, very best
• 0:33
  Speaker 2: way for you to send us a tip. And if
• 0:35
  Speaker 2: you so desire to send a message with that tip,
• 0:37
  Speaker 2: because of the message doesn't go through YouTube's comment enhancement
• 0:41
  Speaker 2: system jazz hands. Okay, back to you, Brian. Please give
• 0:44
  Speaker 2: us the explanation.
• 0:46
  Speaker 1: Here's here's what we're going to be doing. I found
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  Speaker 1: this article on CNN. This is an archive link because
• 0:53
  Speaker 1: I don't give them clicks if I can help it.
• 0:56
  Speaker 1: And they all actually a lot of the legacy media
• 1:00
  Speaker 1: websites are asking you to subscribe or pay for a
• 1:03
  Speaker 1: membership now anyway, so and they haven't figured out that
• 1:06
  Speaker 1: a lot of people who are Internet savvy at all
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  Speaker 1: archive things. But anyway, so did you guys know that
• 1:16
  Speaker 1: for a little while we actually had something somewhat similar
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  Speaker 1: to or growing towards actual progress. And then came Sidney
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  Speaker 1: Sweeney and she destroyed everything. Well not just Sydney Sweeney,
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  Speaker 1: but like the male gaze, which they thought was defeated
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  Speaker 1: and thrown down a shaft, and then like the base
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  Speaker 1: of the patriarchy was destroyed. Somehow, the male gaze returned
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  Speaker 1: and the CNN CNN's own Madeline Holcomb is lamenting that,
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  Speaker 1: and she's going to give us all a history lesson
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  Speaker 1: on the male gaze. And I guess, like why things
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  Speaker 1: are so bad for women in particular famous celebrity women
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  Speaker 1: that work in media.
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  Speaker 2: Here, okay, the ones who makes the most money from
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  Speaker 2: the mail gaze.
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  Speaker 1: Huh yeah yeah, yeah, Okay, so the male.
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  Speaker 2: Gaze didn't exist, they wouldn't have a paycheck. But we're
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  Speaker 2: going to talk about how they're so hard done by
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  Speaker 2: by the fact that men desire the opposite sex of
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  Speaker 2: their species, so horrible.
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  Speaker 1: That's really what it comes down to. It's that's what
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  Speaker 1: it comes down to. Basically, the problem is there are
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  Speaker 1: men who like women? Mm hmm, there are heterosexual men that.
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  Speaker 2: Exist women most affected?
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  Speaker 1: Yeah?
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  Speaker 2: Okay, lord, Okay, So before we get into it, Brian,
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  Speaker 2: do you wanna I created a audio visual you have it, okay?
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  Speaker 2: And I also created a series of time codes that
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  Speaker 2: I thought would that have either are the most crazy
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  Speaker 2: or the most relevant to us? Do you want to
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  Speaker 2: go through those time codes?
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  Speaker 1: Are they? Yeah? That's fine? I mean I so I
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  Speaker 1: did start reading this article for the patrons yesterday. It
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  Speaker 1: was our patron topic. I didn't get that far, maybe
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  Speaker 1: maybe halfway through it because it's as usual, because it's
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  Speaker 1: it is you know, let's say, feminist rhetoric, it takes
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  Speaker 1: a long time to get through because there's a lot
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  Speaker 1: of magic that, like spells take a long time to cast. Yeah,
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  Speaker 1: they have long casting times, so you know, in order
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  Speaker 1: to get people to believe your side of your story,
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  Speaker 1: you got to like take a while throwing all of
• 3:38
  Speaker 1: the incantations out there. And that's kind of what what
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  Speaker 1: what it was about. So we didn't get that far.
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  Speaker 1: We didn't finish it. But okay, exactly, so should we
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  Speaker 1: just play it from the beginning or do you want
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  Speaker 1: me to jump into something. I think the intro is
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  Speaker 1: always good. Have the intro.
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  Speaker 2: Let's do the intro so people understand that we're not
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  Speaker 2: taking this completely out of context. Yeah, you know that
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  Speaker 2: we are being honest about the content of this article.
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  Speaker 2: We're not lying about it.
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  Speaker 1: No. No, the article exists and it's not a joke. Yeah,
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  Speaker 1: this is the real thing that exists on CNN of
• 4:15
  Speaker 1: all places. You know that website, that that news station
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  Speaker 1: that's on It's in every airport and it's where most
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  Speaker 1: people get their ideas about the US. But anyway, let's yeah,
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  Speaker 1: let's go ahead and play the intro. Oh let me
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  Speaker 1: uh yeah, go ahead.
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  Speaker 3: After years of progress on gender, the male Gaze is back.
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  Speaker 3: Text by Madeline Holcombe and photo illustrations by Jason Lancaster.
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  Speaker 3: The male Gaze came roaring back this summer with an
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  Speaker 3: advertisement featuring Sidney Sweeney. This summer, I got cultural whiplash
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  Speaker 3: as a child of the nineties and early two thousands.
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  Speaker 3: I grew up with my mother's and grandmother generations fight
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  Speaker 3: for legal and workplace equality.
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  Speaker 2: What when was she born? When was she born?
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  Speaker 1: So she yeah, So she grew up in with her
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  Speaker 1: mother's and grandmother's generations fight. So the way that this
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  Speaker 1: is worded is like mother's apostrophe s possessive and grandmother's
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  Speaker 1: apostrophe s generation zizz. So my mother and my grandmother.
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  Speaker 1: So she was a child of the nineties and two thousands,
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  Speaker 1: so she's a millennial. And she said that she grew
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  Speaker 1: up with her mother's and her grandmother's generation. Generational is
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  Speaker 1: probably how she should have worded it, generational fight for
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  Speaker 1: legal and workplace equality, helping shed social media.
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  Speaker 2: Yeah, this is this is absolute. Yeah, no, you didn't.
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  Speaker 2: By the nineties, all of the main legislation that feminists
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  Speaker 2: pushed was in place, and the there was no No.
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  Speaker 1: She's saying that her mother, her mother, and her grandmother's
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  Speaker 1: generations are the ones that did the fight. Yeah, no,
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  Speaker 1: they weren't in their time, that's what she's claiming.
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  Speaker 2: Yeah, my mother used to be a feminist and she
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  Speaker 2: was part of that quote unquote fight, and for the
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  Speaker 2: most part, most other grandmothers and mothers weren't. So I
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  Speaker 2: call bullshit on this. Well, of course, she's just generalizing.
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  Speaker 2: I doubt her mother or her grandmother actually fought for
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  Speaker 2: a damn thing, and I don't think they. I don't
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  Speaker 2: think women in the past really fought. They just requested
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  Speaker 2: and men delivered within the uh time scale of bureaucracy,
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  Speaker 2: which is slow. Right, that's not a fight, it's one percent,
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  Speaker 2: not a fight. But yeah, she's setting the framework. She's
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  Speaker 2: starting with the the historic struggles of women's disadvantage, which
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  Speaker 2: you know. Recently, and this is a bit of a digression,
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  Speaker 2: I've been having these long chats with GROC and I
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  Speaker 2: actually talk to multiple ais. I talked to chat GBT,
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  Speaker 2: and I don't know if talk is the right word.
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  Speaker 2: I instruct them to respond to my questions and I
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  Speaker 2: do chat GBT, perplexity, choral and all the various versions
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  Speaker 2: of GROCK. And what I've noticed, what I noticed over
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  Speaker 2: the time talking to these is there is like a
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  Speaker 2: hard crust of ideology that you have to do it
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  Speaker 2: like prompt after prompt after prompt eventually to break through
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  Speaker 2: to empirical studies. And GROC recently, I don't know what
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  Speaker 2: they the team did, but they did an update and
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  Speaker 2: now GROC doesn't have that. So, in other words, it
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  Speaker 2: keeps to the empirical studies, like studies that have verifiable information.
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  Speaker 2: It's had some kind of update where all the feminist
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  Speaker 2: p are and all the feminists like the studies the
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  Speaker 2: feminists do that don't actually find results or aren't replicable on.
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  Speaker 2: So recently I was talking to Groc about history, and
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  Speaker 2: I asked, Groc, can you look at history and this
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  Speaker 2: is now history that isn't informed by feminist foxorship, and
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  Speaker 2: can you tell me the kind of influence that women
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  Speaker 2: wielded over history by their economic power? Estimate their economic
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  Speaker 2: power in the various eras of history, So that would
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  Speaker 2: be antiquity, Roman, Greece, that would be the Middle Ages
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  Speaker 2: and upwards. And what it came back with was in antiquity,
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  Speaker 2: particularly Rome or sorry, particularly Greece, the economic power of
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  Speaker 2: women just as a result of being of their work
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  Speaker 2: in the household. That's it, just their work in their
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  Speaker 2: household was responsible for thirty to fifty percent of the
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  Speaker 2: economic activity of the antiquity. Now if you go into Rome,
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  Speaker 2: that goes even higher because women didn't just have the
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  Speaker 2: home as a source of their economic activity and also
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  Speaker 2: their economic power. They also had public businesses that they
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  Speaker 2: ran in Rome, so all told that brought their input
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  Speaker 2: to the economy to between forty and fifty or sixty percent.
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  Speaker 2: So fully like in some cases as high as sixty
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  Speaker 2: percent of the Roman economy was dictated by women. And
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  Speaker 2: I go to Rome because this Rome is more of
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  Speaker 2: the unequivocal patriarchy. Everybody calls Roma patriarchy and I'm like,
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  Speaker 2: we're compared to what? But the women actually controlled a
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  Speaker 2: substantial portion and they had political, economic and political clout
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  Speaker 2: as a result of that power. And one huge thing,
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  Speaker 2: huge change that they made was Christianity. Christianity got its
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  Speaker 2: initial footing from wealthy Roman matrons supporting it and also
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  Speaker 2: female martyrs as well. But those women were the ones
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  Speaker 2: who gave it its footing in Roman society. And then eventually,
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  Speaker 2: you know, there would be Roman emperors who were the
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  Speaker 2: sons of Christian women. So there they launched Christianity as
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  Speaker 2: a worldwide religion. Like think about that, Think about the
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  Speaker 2: level of influence that represents for women. And where we
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  Speaker 2: have feminists talking about women as if they are insignificant
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  Speaker 2: actors in history, as if until feminism came, women were
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  Speaker 2: just they were just, their heads were down. They never
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  Speaker 2: spoke a contrary word to a man. Ever, they never
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  Speaker 2: advocated for their own interests. They did all the sacrifice
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  Speaker 2: and hard work. They were the ones down the minds
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  Speaker 2: and in the trenches, you know, before feminism. And it's
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  Speaker 2: such total bullshit because all feminism is doing is stealing
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  Speaker 2: the valor of women. Women never needed feminism. That's the
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  Speaker 2: funny thing because when I, you know, I talked about
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  Speaker 2: how my mother was an initial she was initially part
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  Speaker 2: of the feminist movement. She ended up leaving because of
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  Speaker 2: the way that they treated her when she demanded merit.
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  Speaker 2: She was an editor in a feminist publication and she
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  Speaker 2: wanted people to obey the laws of grammar so that
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  Speaker 2: they could convey their ideas clearly, and they called that
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  Speaker 2: patriarchal and drummed her out, and then they also harassed
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  Speaker 2: my father, and she just was done with the whole
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  Speaker 2: thing at that point, right, just she left. And then
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  Speaker 2: what's interesting is because she died of lung cancer in
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  Speaker 2: two thousand and seven. At her funeral, I remember listening
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  Speaker 2: to her friends, some of whom or maybe all of
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  Speaker 2: whom were feminists, and they said she was a woman
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  Speaker 2: who didn't need feminism. Now that is like, I don't
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  Speaker 2: think any woman needs feminism, But that's white a statement
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  Speaker 2: from feminists. You know, the truth is that women don't
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  Speaker 2: need feminism. In fact, women should aim to be an
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  Speaker 2: individual who doesn't need this crutch, this mental crutch, to
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  Speaker 2: get through their life. All right. And my ultimate point
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  Speaker 2: here is my mother was an initial champion of this movement,
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  Speaker 2: but she never needed it. Feminism makes women think that
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  Speaker 2: they need feminism because feminism wants to appropriate the actual
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  Speaker 2: influence and power of women for its own ends, to
• 12:39
  Speaker 2: benefit its elite. It's sisterhood, all right, and this and okay,
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  Speaker 2: that was a long aside. I apologize everyone, Okay.
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  Speaker 1: So that's fine. Let's get back to this article.
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  Speaker 3: Misogyny. In the past decade, in particular, I saw the
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  Speaker 3: evidence of progress in my media diet. The movies, shows, books,
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  Speaker 3: and advertisements I consumed were increasingly giving women a seat
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  Speaker 3: at the table. Heroin Chic fell away and body positivity
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  Speaker 3: entered the fashion world.
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  Speaker 2: Are you mental?
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  Speaker 3: Stealing?
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  Speaker 2: Heroin Chic was entirely female for this? Do you think
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  Speaker 2: men wanted Kate Moss?
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  Speaker 1: No? That was like that was from the fashion industry,
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  Speaker 1: which is basically run by women and gay men, and
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  Speaker 1: it was about turning women, the models into Essentially they
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  Speaker 1: were just hangers for the clothing, so they weren't they
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  Speaker 1: weren't they, Yeah, like they were not the subject the
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  Speaker 1: clothing was hence fashion.
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  Speaker 2: Yeah, so I mean they did have personality and they
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  Speaker 2: had to be able to work.
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  Speaker 1: I'm not saying it didn't exist that way, but there was,
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  Speaker 1: Like Kate Moss was probably one of the early earlier
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  Speaker 1: super models. First of all, when we started calling them
• 14:03
  Speaker 1: supermodels kind of came out of that. But also some
• 14:05
  Speaker 1: of the early ones that they had a name that
• 14:07
  Speaker 1: we that we could point to, because I think that
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  Speaker 1: for a lot of a lot of that time, unless
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  Speaker 1: you did some research or some digging, you didn't really
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  Speaker 1: learn the names of the models that were modeling clothing
• 14:20
  Speaker 1: because that wasn't the point. They weren't supposed to be
• 14:23
  Speaker 1: celebrities in the same way, right, And I think that
• 14:28
  Speaker 1: in the eighties we started to like talk about models
• 14:33
  Speaker 1: like name like Cydy Crawford, I think she was a model, right,
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  Speaker 1: and some of these sports Illustrated swimsuit ladies. But but yeah,
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  Speaker 1: I mean speaking of sports illustrate, that's more like the
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  Speaker 1: kind of man that or the kind of woman that
• 14:47
  Speaker 1: men liked, you know, like curvier, Playboy sports Illustrated, not
• 14:53
  Speaker 1: something you'd find in el or Mary Claire or Cosmo.
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  Speaker 2: So and it was really funny because that changed to
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  Speaker 2: heroin chic was itself heralded as a move away from
• 15:03
  Speaker 2: the male gaze. No more bouncy, smiley playboy bunnies. Now
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  Speaker 2: we have these serious, serious women with the with the
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  Speaker 2: who displayed their esthetic choices, not the curves that men
• 15:19
  Speaker 2: are attracted to. Right Like, every single movement has been
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  Speaker 2: framed as a movement a mate way from what men want,
• 15:31
  Speaker 2: except maybe when we actually you know, like Playboy actually
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  Speaker 2: catering to the male gaze or what men like. It's
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  Speaker 2: it's this is absolutely tiresome, okay. And I remember that
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  Speaker 2: because I, unlike this woman, was in my late teen
• 15:50
  Speaker 2: well I was thirteen in nineteen ninety, you know, so
• 15:53
  Speaker 2: I was twenty three at the end. I remember all
• 15:57
  Speaker 2: of the conversation around this. I remember them talking about
• 16:03
  Speaker 2: how these women were were icons of female power, no
• 16:09
  Speaker 2: longer constrained by wit men's desire for boobies and butts,
• 16:15
  Speaker 2: right like, this is this is this she is taking
• 16:19
  Speaker 2: feminist initiatives from the past and reframing them as male gaze.
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  Speaker 2: And it's ridiculous. And also this sum okay, I'll leave
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  Speaker 2: it there. Let us listen to some more, all right,
• 16:31
  Speaker 2: all right.
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  Speaker 1: So anyway, Yeah, no, she's just like she's moving the
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  Speaker 1: historical goalposts basically, like every time that every when they
• 16:38
  Speaker 1: look back on a point in history and they see
• 16:41
  Speaker 1: the things have changed since then, they always attribute the
• 16:44
  Speaker 1: change as needed if it's moving in the direction they like,
• 16:47
  Speaker 1: and that means that whatever came before was a product
• 16:50
  Speaker 1: of not them, but the opposite. So yeah, the anorexic
• 16:54
  Speaker 1: look was definitely something that came out of the fashion
• 16:57
  Speaker 1: industry and not men. But she needs a narrative to fit.
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  Speaker 1: She's like drawing, she's writing the history of this, so
• 17:04
  Speaker 1: she has to like make it fit within a certain framework.
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  Speaker 2: Bried out.
• 17:09
  Speaker 3: Yeah, your man, we're traded for celebration of the girl's
• 17:13
  Speaker 3: girl who resisted the competition for men's attention. And when
• 17:18
  Speaker 3: my husband and I got married earlier this year, our
• 17:22
  Speaker 3: vision of what our life could be included wide range.
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  Speaker 2: Wait, wait, she was born in the nineties. That's prettily,
• 17:30
  Speaker 2: I guess thirty.
• 17:31
  Speaker 1: Said she was a child of the nineties, so they
• 17:34
  Speaker 1: were probably born in the born in the eighties.
• 17:37
  Speaker 2: Eighties, all right, so she's.
• 17:38
  Speaker 1: In our forties. Probably got married.
• 17:42
  Speaker 2: Yeah, I doubt this is the first.
• 17:46
  Speaker 1: Yeah, we're not going to learn about how many strikes
• 17:51
  Speaker 1: she's had.
• 17:51
  Speaker 2: Yeah, and that will bear That will not bear at
• 17:54
  Speaker 2: all on anything that she's talking about. Of course, whether
• 17:58
  Speaker 2: or not she can actually maintain a relationship with a
• 18:01
  Speaker 2: long term relationship with a man does not bear on
• 18:05
  Speaker 2: her actual expertise in what men actually want and the
• 18:11
  Speaker 2: relationship between the sexes. Mm hmm, Okay, let's go.
• 18:19
  Speaker 3: Influenced in part by the movies and shows we grew
• 18:22
  Speaker 3: up with, we saw, read and listen to stories of
• 18:26
  Speaker 3: involved fathers, successful mothers, and well matched partners who supported
• 18:31
  Speaker 3: one another.
• 18:33
  Speaker 1: So okay, just a quick correction. It actually should say
• 18:37
  Speaker 1: we saw, read and listen to stories of involved fathers,
• 18:41
  Speaker 1: successful mothers, and well matched partners who supported one another.
• 18:45
  Speaker 1: But because read and read are spelled the same, I
• 18:47
  Speaker 1: think the AI got it wrong. But what I will
• 18:50
  Speaker 1: say is, were there stories of involved fathers in the
• 18:56
  Speaker 1: UH in the in the nineties? In no, no, because
• 19:00
  Speaker 1: she's talking about when they got married. Influenced by oh, yeah,
• 19:03
  Speaker 1: we grew up with Yeah in the nineties and two thousands,
• 19:06
  Speaker 1: were there? Because I'm pretty sure the Homer Simpson dad
• 19:11
  Speaker 1: effect was in full swing. Yeah, yeah, And there were
• 19:16
  Speaker 1: a lot more shows that depicted alternative family structures, you know,
• 19:23
  Speaker 1: things that were bohemian or adopted characters or single moms
• 19:29
  Speaker 1: or whatever, with some exceptions, I think like rose Anne
• 19:32
  Speaker 1: was like one where you know, you had a nuclear
• 19:35
  Speaker 1: family for example, but they were you know, working class
• 19:39
  Speaker 1: and they struggled with a lot of stuff, which is
• 19:41
  Speaker 1: what the point of the show was. But yeah, I
• 19:45
  Speaker 1: don't know about this stories of involved father successful mothers
• 19:49
  Speaker 1: and well matched partners who supported one another. And again
• 19:53
  Speaker 1: that's not is that really different from the stuff that
• 19:56
  Speaker 1: came out in the eighties and seventies and sixties, I
• 19:58
  Speaker 1: can I can tell you that TV from going all
• 20:03
  Speaker 1: the way back to the sixties was subversive. Subversion was
• 20:07
  Speaker 1: common actually even going back that far in some fashion. Right,
• 20:12
  Speaker 1: So anyway, uh, Nova fan twenty one gives us a
• 20:15
  Speaker 1: dollar rumble rant and says, if it's not real already,
• 20:18
  Speaker 1: my favorite feminist cope is that every bad feminist was
• 20:21
  Speaker 1: somehow invented by the patriarchy to undermine real feminism, never
• 20:25
  Speaker 1: mind all the fundamental problems they ignored. Yeah, that's that's well,
• 20:29
  Speaker 1: if it's because the thing is feminism is like socialism.
• 20:33
  Speaker 1: It just if it If it doesn't work, it's because
• 20:36
  Speaker 1: it wasn't implemented correctly or or it was it never
• 20:39
  Speaker 1: was tried out to begin with. But if it does
• 20:41
  Speaker 1: work and it's good then it then that's when that's
• 20:44
  Speaker 1: real feminism. So but that's why they never get anything
• 20:48
  Speaker 1: done because they it never is good enough because there's
• 20:52
  Speaker 1: too much patriarchy in the way. So uh, anyway, let's uh,
• 20:58
  Speaker 1: let's keep.
• 20:59
  Speaker 3: Going like women were taking a deeper breath without such
• 21:04
  Speaker 3: heavy cultural restrictions. Then there was a shift. Was it
• 21:08
  Speaker 3: around the twenty twenty four presidential election or since the
• 21:13
  Speaker 3: overturn of Roe v.
• 21:15
  Speaker 2: Wade?
• 21:16
  Speaker 3: Mee and men's rights activists pushed back against me too?
• 21:21
  Speaker 1: The men's rights activists push back against me too? That
• 21:24
  Speaker 1: was like this is like I'm gonna read that sentence
• 21:27
  Speaker 1: again because that one killed me when I saw it.
• 21:29
  Speaker 1: So she's trying to figure out when the shift happened.
• 21:33
  Speaker 1: Was it around the twenty twenty four presidential election or
• 21:36
  Speaker 1: since the overturn of Roe v. Wade, Maybe when men's
• 21:39
  Speaker 1: rights activists pushed back against hashtag me too? So how
• 21:45
  Speaker 1: does she define men's rights activists? In this context because like,
• 21:50
  Speaker 1: I saw a lot of pushback against me too, but
• 21:52
  Speaker 1: it wasn't only coming out of the MRA camp. I mean,
• 21:58
  Speaker 1: is Johnny DApp an MRA.
• 22:01
  Speaker 2: Yeah exactly. Now that that wasn't men's well, it's literally
• 22:06
  Speaker 2: what she's saying is that any kind of civil or
• 22:09
  Speaker 2: legal remedy against these these allegations is men's rights, in
• 22:14
  Speaker 2: which she is right. Due process is part of men's rights.
• 22:20
  Speaker 2: Civil remedies against slander is part of men's rights. So yeah,
• 22:25
  Speaker 2: she did see pushback, but what she's defining is men's
• 22:29
  Speaker 2: rights is due process and civil remedies for slander, which
• 22:33
  Speaker 2: she wants to get rid of, and feminists want to
• 22:35
  Speaker 2: get rid of. They want to lynch. They want a
• 22:38
  Speaker 2: lynch mob culture, not a culture of due process, not
• 22:42
  Speaker 2: a culture of rule by law. They want a culture
• 22:45
  Speaker 2: of rule of law with feminists. No, sorry, culture of
• 22:51
  Speaker 2: rule by law with feminists in the position of deciding
• 22:55
  Speaker 2: who gets legal rights and who doesn't, and men certainly won't.
• 23:00
  Speaker 2: They don't want a culture of rule by law, a
• 23:02
  Speaker 2: rule of law, because that means they're subject to those laws,
• 23:06
  Speaker 2: and they believe that they are above the law. M h.
• 23:10
  Speaker 2: This is what they think right. So yes, us men's rights,
• 23:15
  Speaker 2: we did push back against the excesses of me too
• 23:18
  Speaker 2: and whatever way we could. But it wasn't us particularly
• 23:23
  Speaker 2: that did anything but create information and try to create
• 23:27
  Speaker 2: moral support for men being attacked by this feminist mob.
• 23:35
  Speaker 2: It was the actual legal constructs, the things that we
• 23:40
  Speaker 2: have developed and died for for the last well men
• 23:45
  Speaker 2: mostly have developed and died for for the last two
• 23:48
  Speaker 2: millennia a bit more longer, in order to protect ourselves
• 23:52
  Speaker 2: from excesses of ruling. Ruling excesses, so excesses of people
• 23:57
  Speaker 2: in power and people with money she wants to dismantle.
• 24:01
  Speaker 2: And she calls it men's rights advocacy because that word,
• 24:06
  Speaker 2: those that set of words, that set of words alone
• 24:10
  Speaker 2: condemns it to every in everybody's eyes. How dare men
• 24:15
  Speaker 2: have rights? This is the normy position. How dare men
• 24:20
  Speaker 2: have rights? She's absolutely right, we should remove those due process.
• 24:25
  Speaker 2: Those are men's rights, civil remedies for slander, that's men's rights.
• 24:30
  Speaker 2: We should remove those. Men shouldn't have those. And then
• 24:36
  Speaker 2: we wonder why everything is sort of going to shit,
• 24:43
  Speaker 2: why government seems to have suddenly had so much power
• 24:46
  Speaker 2: that it can enact agendas that are completely against the
• 24:50
  Speaker 2: constitution of every everyone's constitution, everyone's human rights. Jeez, I
• 24:55
  Speaker 2: wonder where that came from.
• 24:58
  Speaker 1: Yeah, okay, okay, So I got a super chat and
• 25:03
  Speaker 1: then a super child right after that. The super chat
• 25:06
  Speaker 1: is from Gary Thomas who gives us two dollars and says, hey,
• 25:08
  Speaker 1: I think my superchild got stuck in the queue. And
• 25:11
  Speaker 1: then the superchild that got stuck in the queue showed
• 25:13
  Speaker 1: up from Gary Thomas for five dollars, and it says
• 25:18
  Speaker 1: I've read this article before. And there comes this point
• 25:20
  Speaker 1: where she talks about plus sized body represented in media.
• 25:25
  Speaker 1: The only thing that came to mind is Lena Dunham
• 25:27
  Speaker 1: on her TV show Girls getting completely naked every third episode.
• 25:31
  Speaker 1: No thanks, I'm gay and I'd rather have Sidney Sweeney
• 25:33
  Speaker 1: to Lena Dunham. Yeah yeah, they Well, the thing is,
• 25:37
  Speaker 1: you know, there's like a checklist of, let's say, viable
• 25:42
  Speaker 1: groups of people that women feminists should be advocating for,
• 25:46
  Speaker 1: and fat women is part. It's only women though they
• 25:50
  Speaker 1: just say body positivity, but they don't mean men. They
• 25:52
  Speaker 1: mean women. They'll they'll include men if those men decide
• 25:56
  Speaker 1: to be trans or their drag queens or something. But
• 25:59
  Speaker 1: generally body positivity is only for women, that's not for men.
• 26:04
  Speaker 1: So but thank you for that, Gary Thomas. Yes, of
• 26:07
  Speaker 1: course she has to do that. And you know, what's
• 26:09
  Speaker 1: what is kind of encouraging. I watched this video today.
• 26:13
  Speaker 1: I sent it to Alison, but it was from the
• 26:15
  Speaker 1: from a YouTube channel called National Conservatism, a woman named
• 26:19
  Speaker 1: Helen Andrews. She was talking about libertarianism and she basically
• 26:24
  Speaker 1: said what we've been saying that all this wokeness stuff
• 26:28
  Speaker 1: is a feminine it's a feminization of culture. It's it's
• 26:32
  Speaker 1: not it's intersectional, but only in so far as it
• 26:36
  Speaker 1: is tailored to women's sensibilities, in women's ways of valuing existence,
• 26:41
  Speaker 1: when women's ways of knowing, as it were, the female
• 26:44
  Speaker 1: model of reality, which is all you know, it's subjective.
• 26:48
  Speaker 1: It's protectionists for women. It prioritized security at.
• 26:53
  Speaker 2: What it is based on victimhood. It's like an idolization
• 26:57
  Speaker 2: of victimhood.
• 26:58
  Speaker 1: Yes, of how you're.
• 26:59
  Speaker 2: Acted upon by the world, right, you know, And that's
• 27:04
  Speaker 2: understandable if you think about women's psychology being around taking
• 27:07
  Speaker 2: care of infants. Infants are the ultimate vulnerable creatures. So
• 27:13
  Speaker 2: you have this group of people who are politically empowered
• 27:15
  Speaker 2: who are absolutely attuned to vulnerability and putting vulnerability first.
• 27:22
  Speaker 2: And that's exactly what they've done. That's what intersectionality is.
• 27:25
  Speaker 2: And of course intersectionality also always places women at the
• 27:29
  Speaker 2: top as the arbiters of what is vulnerable and what
• 27:32
  Speaker 2: needs to be served in society. So yeah, it's good
• 27:36
  Speaker 2: to see that there are conservatives that are suddenly queuing
• 27:39
  Speaker 2: into this.
• 27:40
  Speaker 1: Yeah. She literally said, like, she said all this stuff
• 27:43
  Speaker 1: and then she says, now I'm going to get really controversial,
• 27:45
  Speaker 1: and everybody laugh and she said, basically, we got to
• 27:47
  Speaker 1: eliminate HR departments. So, like, I mean, there's more to it.
• 27:52
  Speaker 1: It's a good video, but I'm digressing quite a bit.
• 27:56
  Speaker 1: I'm just glad that it's entering the mainstream in full
• 27:59
  Speaker 1: in full swing.
• 28:00
  Speaker 2: Anyway, Yeah I could. Oh no, yeah, well recently, I'll
• 28:06
  Speaker 2: get this out because this might be interesting to you. Recently,
• 28:09
  Speaker 2: I was having another exchange with Grock and we ended
• 28:14
  Speaker 2: up talking about what would increase the birth rate in society,
• 28:19
  Speaker 2: and possibly the single biggest thing we could do right
• 28:22
  Speaker 2: now is universal shared parenting. It has the it would
• 28:30
  Speaker 2: have the single biggest We could get rid of immigration,
• 28:33
  Speaker 2: but we'd still have knock on effects because we're not reproducing.
• 28:37
  Speaker 2: But if we got if we put in place universal
• 28:40
  Speaker 2: shared parenting, it would have a number of positive benefits
• 28:46
  Speaker 2: on the birth rate. The first thing it would do
• 28:49
  Speaker 2: was be it would reduce divorce. It reduces divorce substantially
• 28:54
  Speaker 2: because all of those vague rationales, irreconcilable differences, which is
• 28:59
  Speaker 2: like ninety percent of divorces, seventy percent are initiated by women,
• 29:03
  Speaker 2: and ninety percent of divorces are no fault, and all
• 29:07
  Speaker 2: that's put is this vague, irreconcilable differences. But suddenly, when
• 29:11
  Speaker 2: women aren't assured of getting full time with their kids,
• 29:17
  Speaker 2: they're going to have to share it with their ex partner.
• 29:20
  Speaker 2: Suddenly those irreconcilable differences become reconcilable. Funny how that works,
• 29:25
  Speaker 2: And the divorce rate declines precipitously. So first effect is
• 29:31
  Speaker 2: more stable families. The second effect is that men invest
• 29:36
  Speaker 2: more in their children when they know they're not going
• 29:39
  Speaker 2: to be taken away. It's impossible for anybody with normal
• 29:45
  Speaker 2: mammalian emotions to invest in something that they know has
• 29:49
  Speaker 2: the potential of being taken away from them. The distance
• 29:53
  Speaker 2: that we see in fathers in relationships today. In families
• 29:58
  Speaker 2: today is a direct result of the fact that they
• 30:02
  Speaker 2: know that their children could be taken away at any
• 30:05
  Speaker 2: time by the mother. So when you take away that,
• 30:09
  Speaker 2: fathers become far more involved, which has a third effect.
• 30:14
  Speaker 2: Women with a more involved father are more likely to
• 30:19
  Speaker 2: have more children. So it's not chore parody. It may
• 30:23
  Speaker 2: not even be income the income differential, although men do
• 30:28
  Speaker 2: have to earn more in order to get into a
• 30:29
  Speaker 2: relationship and have children. The involvement, the day to day
• 30:34
  Speaker 2: involvement of a father, so taking care of the kids,
• 30:39
  Speaker 2: reading them stories, playing games, play wrestling, all of that.
• 30:43
  Speaker 2: The day to day and intimate involvement of a father
• 30:46
  Speaker 2: with his children increases the rate at which women are
• 30:51
  Speaker 2: willing to have children. This is more than any other factor.
• 30:57
  Speaker 2: And men knowing that their investment won't be torn away
• 31:00
  Speaker 2: from them means that they invest more day to day,
• 31:03
  Speaker 2: which at the end increases the birth rate. So shared
• 31:07
  Speaker 2: parenting is shown to decrease the divorce rate and increase
• 31:11
  Speaker 2: the birth rate. And yet what are we doing? What
• 31:15
  Speaker 2: are we doing? We are continuing to screw ourselves and
• 31:19
  Speaker 2: throw our entire society into the chasm of pain because
• 31:23
  Speaker 2: we don't want to look at common sense solutions. Why
• 31:29
  Speaker 2: because they don't support feminism.
• 31:33
  Speaker 1: Yep.
• 31:36
  Speaker 2: People have got to realize that everything you enjoy heating, lighting,
• 31:43
  Speaker 2: having a job, being able to buy crap, right, having games,
• 31:49
  Speaker 2: enjoying entertainment, having a life of sufficient leisure, that you
• 31:53
  Speaker 2: can spend time on things like games and media or
• 31:58
  Speaker 2: fan fiction if you're a woman. Right, all of that
• 32:02
  Speaker 2: right here. You imagine all of the joys of living
• 32:06
  Speaker 2: in a modern society which isn't at a subsistence level. Right,
• 32:11
  Speaker 2: all of these joys right here. Okay, we're going to
• 32:15
  Speaker 2: go get to the point where we realize we can
• 32:19
  Speaker 2: have this or we can have feminism, one or the other.
• 32:25
  Speaker 2: That's what the chasm of pain means. And everyone's going
• 32:28
  Speaker 2: to have to go in it. All right, let's.
• 32:33
  Speaker 1: Keep it going, Let's keep going.
• 32:35
  Speaker 3: Change in the political environment seemed to connect with a
• 32:39
  Speaker 3: social change that brought back narrow and at times constrictive
• 32:44
  Speaker 3: ideas of womanhood depicted in media. The recent rise of
• 32:49
  Speaker 3: weight loss medications coincided with social media influencers sharing ways
• 32:55
  Speaker 3: to get smaller and no longer celebrating bodies of all sizes.
• 32:59
  Speaker 1: Me did did men.
• 33:02
  Speaker 2: Yeah, men, of course, the the the the fitness and
• 33:07
  Speaker 2: beauty and the army of fitness and male fitness and
• 33:11
  Speaker 2: beauty influencers who are not gay, Brian, they did that.
• 33:15
  Speaker 2: The straight white had men who are advertising all of
• 33:20
  Speaker 2: these weight loss and spanks. Like she doesn't talk about that,
• 33:23
  Speaker 2: like all of the corsetry and the Lulu Lemon and
• 33:29
  Speaker 2: all of this other stuff, and all of the all
• 33:31
  Speaker 2: of those fitness influencers are shoving their shapely toned buttocks
• 33:36
  Speaker 2: into the Actually those were all men. They were all men,
• 33:39
  Speaker 2: and women's scoot sin scoot his sins skin suits. Brian.
• 33:45
  Speaker 2: You just they were cleverly disguised.
• 33:48
  Speaker 1: Well, they were clever. What if the move away from
• 33:52
  Speaker 1: these body positive influencers because the influencers died of obesity,
• 33:57
  Speaker 1: because and I'm not making a joke, there are number
• 34:00
  Speaker 1: who have died. Brandy Mallory died at forty complications of obesity, hypertension,
• 34:08
  Speaker 1: and atherosclerosis, found unresponsive in a Chipotle parking lot. Not
• 34:13
  Speaker 1: a joke, this happened. Jamie Lopez, thirty seven heart failure complications,
• 34:19
  Speaker 1: died suddenly after attempting weight loss. Critics noted her advocacy
• 34:22
  Speaker 1: downplayed health risks, but she had an aim to combat stigma.
• 34:27
  Speaker 1: Cat pause unknown suspected obesity related her work. Let me
• 34:33
  Speaker 1: see she died at she died from obesity, Advocacy for
• 34:41
  Speaker 1: Fat and Fit Britney sour heart failure, heart attack, like this,
• 34:49
  Speaker 1: and the list goes on. So if a bunch of
• 34:51
  Speaker 1: fat influencers start dying off because they're fat, and then
• 34:57
  Speaker 1: people respond to it by saying, man, maybe this isn't good,
• 35:00
  Speaker 1: and they decide to like figure out a solution instead
• 35:02
  Speaker 1: of just telling themselves and the people who follow them
• 35:07
  Speaker 1: that it's okay to be fat healthy at any size,
• 35:10
  Speaker 1: then the reaction to that is for people to be like, Okay, wait,
• 35:13
  Speaker 1: maybe being fat isn't good. I'm going to try and
• 35:15
  Speaker 1: change that. And now she's saying that this is because
• 35:17
  Speaker 1: of men. She's blaming men for women who are trying
• 35:23
  Speaker 1: to convince other women to destroy themselves, and then some
• 35:27
  Speaker 1: women do destroy themselves, and then other women respond to
• 35:30
  Speaker 1: that by saying, huh, maybe that's not a good idea.
• 35:32
  Speaker 1: I think I'm going to start taking care of myself,
• 35:34
  Speaker 1: and maybe they get into ozempic because I know that's
• 35:36
  Speaker 1: why she mentioned these weight loss drugs, and I know
• 35:40
  Speaker 1: the ozempic is the big thing right now, and somehow
• 35:44
  Speaker 1: pretends as though this is all the doing of men.
• 35:47
  Speaker 1: Do you see what I'm saying?
• 35:49
  Speaker 2: Yep, Yeah, Mother nature is the most fat phobic of all.
• 35:54
  Speaker 1: Yeah, yeah, reality is exactly Reality is fat phobic obviously,
• 36:01
  Speaker 1: so yeah. But anyway, pretty it's it's fucked up that
• 36:07
  Speaker 1: she is basically defending a literally self destructive lifestyle because
• 36:15
  Speaker 1: she thinks patriarchy is to blame. Like if women were
• 36:20
  Speaker 1: just not judged for their weight by men, if they
• 36:23
  Speaker 1: just didn't have any opinions at all, they would somehow
• 36:27
  Speaker 1: not die from like clogged arteries and heart failure and diabetes.
• 36:32
  Speaker 1: That wouldn't happen because men would not judge them. Therefore
• 36:36
  Speaker 1: they'd be healthy. It's delusional, m HM.
• 36:39
  Speaker 3: Advertisements followed, suit making men's desire once again a dominating
• 36:44
  Speaker 3: factor in how stories are told and how women are portrayed.
• 36:49
  Speaker 3: How had these discarded ideas made their way back into circulation.
• 36:53
  Speaker 3: Didn't we all agree we were through with them? The
• 36:57
  Speaker 3: culprit I have learned is the male gaze. It was
• 37:02
  Speaker 3: always there, but now it is stepped back into the spotlight.
• 37:10
  Speaker 1: The male gaze is the reason for this, all right,
• 37:14
  Speaker 1: So that's the intro. Do you want me to jump
• 37:15
  Speaker 1: to any specific time codes? Let me see, oh the
• 37:18
  Speaker 1: most relevant Okay, I see it. Do you have any
• 37:26
  Speaker 1: anything to say on on just that or is it
• 37:28
  Speaker 1: just like this is awful? I I.
• 37:36
  Speaker 2: You know that's it's always going to land on blame men.
• 37:40
  Speaker 1: Yeah, yeah, I know, crazy, right, but a wild idea.
• 37:45
  Speaker 2: I'm sorry I played with my color grading because I'm
• 37:48
  Speaker 2: just like sliding off into my own little world. I
• 37:50
  Speaker 2: will let's play a little bit more and I will
• 37:52
  Speaker 2: return to whatever this is.
• 37:54
  Speaker 1: Just going to the time codes you put. Uh so
• 38:00
  Speaker 1: let me see here. Uh no, we'll jump ahead to
• 38:08
  Speaker 1: American Eagles controversial ad because you know, we gotta we
• 38:12
  Speaker 1: gotta cover that. So this is three to two.
• 38:17
  Speaker 3: The ads sell genes to women, featuring actor Sydney Sweeney,
• 38:22
  Speaker 3: who many men see as a sex symbol, insinuating the
• 38:27
  Speaker 3: clothing would make men find them more attractive. Then there
• 38:31
  Speaker 3: was elf Beauty's campaign, led by a comedian infamous for
• 38:36
  Speaker 3: domestic violence jokes and disdain of a primarily female audience.
• 38:42
  Speaker 1: So okay, so then we e m F E lf
• 38:47
  Speaker 1: Beauty's campaign. The comedian. I looked at this because I
• 38:51
  Speaker 1: was curious about it when we were covering this yesterday.
• 38:54
  Speaker 1: Apparently there's a comedian named Matt Rife who tells, you know,
• 38:59
  Speaker 1: Joe of I mean, she says, infamous for domestic violence jokes.
• 39:03
  Speaker 1: I'm sure that that's just one type of joke out
• 39:07
  Speaker 1: of a lot of jokes. But as usual, feminists are
• 39:10
  Speaker 1: are all about cherry picking the worst examples.
• 39:14
  Speaker 2: I bet they don't. They don't actually call out female
• 39:16
  Speaker 2: comedians and their domestic violence chokes.
• 39:19
  Speaker 1: No, or actual domestic violence yeah, or actually the comics
• 39:25
  Speaker 1: just for context. The comic his name is Matt Rife,
• 39:30
  Speaker 1: gained popularity in TikTok and he's appeared on shows like
• 39:33
  Speaker 1: Wilding Out and Brooklyn ninety nine. He made he had
• 39:37
  Speaker 1: a bit about domestic violence in his recent Netflix special
• 39:40
  Speaker 1: Matt Rife Natural Selection. The set includes a joke, so basically,
• 39:44
  Speaker 1: he had one joke in a whole set, and they're
• 39:47
  Speaker 1: saying he's the domestic violence comedian. Now, so the joke
• 39:51
  Speaker 1: was about a female server at a restaurant having a
• 39:54
  Speaker 1: black eye. My boy, and this is his the I
• 39:57
  Speaker 1: guess I'm quoting his joke. Okay, my boy who I
• 39:59
  Speaker 1: was with like, yeah, I feel bad for her, man.
• 40:01
  Speaker 1: I feel like they should put her in the kitchen
• 40:03
  Speaker 1: or something where nobody has to see her face, you know.
• 40:05
  Speaker 1: And I was like, yeah, but I feel like if
• 40:07
  Speaker 1: she could cook, she wouldn't have that black eye. That's
• 40:11
  Speaker 1: pretty good. See it makes you laugh because it makes
• 40:14
  Speaker 1: you uncomfortable. That's the point the of course, Now that's
• 40:19
  Speaker 1: all he is. He's the guy who told that joke.
• 40:22
  Speaker 2: And yeah, you know what, Yeah, no, actually continue, Sorry
• 40:26
  Speaker 2: I shouldn't.
• 40:28
  Speaker 1: I well, I mean, I'm just saying like this is
• 40:32
  Speaker 1: she's saying that it used to be the case that
• 40:36
  Speaker 1: we wouldn't put up with Sidney Sweeney advertising jeans or
• 40:41
  Speaker 1: comedians telling jokes. Yeah, and now we do. And this
• 40:45
  Speaker 1: is bad for women because that's really what this comes
• 40:48
  Speaker 1: down to, is she wants to control his behavior and
• 40:53
  Speaker 1: her behavior, Sidney Sweeney's behavior, because the thing is, you know,
• 40:57
  Speaker 1: Sidney Sweeney is not even like she's not pro male
• 41:03
  Speaker 1: or anything. She's just a woman that doesn't openly come
• 41:06
  Speaker 1: out and say she hates men. She just works like
• 41:10
  Speaker 1: it's just you know, there are people in Hollywood that
• 41:13
  Speaker 1: don't use it as a soapbox and they just do
• 41:15
  Speaker 1: their job and they lean into whatever it is they're good,
• 41:18
  Speaker 1: you know, whatever it is are good at. And in
• 41:20
  Speaker 1: her case, she uses her sexuality to essentially boost her
• 41:25
  Speaker 1: fame and it works, and she doesn't shit on men
• 41:27
  Speaker 1: while she's doing it. So and they're seeing, oh, she's like,
• 41:31
  Speaker 1: you know, she's like right wing coded or whatever, white
• 41:34
  Speaker 1: supremacist coded because she's not attacking men. But that's just
• 41:38
  Speaker 1: not true. And she stands out because she's one of
• 41:41
  Speaker 1: the few who's not doing that. She's not doing a
• 41:43
  Speaker 1: Rachel Zegler or a Brie Larsen or you know, any
• 41:48
  Speaker 1: number of Charlie's. Then like take your pick, right, Sharon Stone,
• 41:53
  Speaker 1: like all of the women, especially the ones that are
• 41:55
  Speaker 1: older now, they use their fame to shit on men
• 42:00
  Speaker 1: and patriarchy and whatever. Right they go on and call
• 42:02
  Speaker 1: her daddy. They talk about the young guys they're banging,
• 42:05
  Speaker 1: but Sidney Sweeney doesn't do that, and so and she
• 42:08
  Speaker 1: gets work regardless, and so men think that they you know,
• 42:12
  Speaker 1: that makes her more attractive to them. Like literally, she's
• 42:16
  Speaker 1: kind of like girl next door looks right, but because
• 42:19
  Speaker 1: she doesn't hate men openly, she gets treated like a
• 42:23
  Speaker 1: sex goddess. It's it's like, it's so easy, ladies, it's
• 42:26
  Speaker 1: so easy. Just don't hate men. And I'm telling you
• 42:29
  Speaker 1: men will like you.
• 42:30
  Speaker 2: So oh man, But that's we can't do that. That's
• 42:36
  Speaker 2: she's sane. Yeah, And it also invites the potential of vulnerability,
• 42:42
  Speaker 2: like that's I think that's what really is happening here
• 42:46
  Speaker 2: is the women who promote this. They're terrified of being vulnerable,
• 42:50
  Speaker 2: absolutely terrified, but they're.
• 42:53
  Speaker 1: But they're also delusional because they're they're vulnerable no matter what.
• 42:56
  Speaker 1: It's just that like men aren't chomping at the bit
• 43:00
  Speaker 1: to hurt them, so there's nothing to be afraid of.
• 43:04
  Speaker 1: But they like being afraid. I don't know, it's it's comfortable.
• 43:08
  Speaker 2: It's because it's it controls men, which is ironic because
• 43:12
  Speaker 2: that defies the vary assertions about men. If men didn't
• 43:15
  Speaker 2: care about women, Women's vulnerabilities or professions of victimhood or
• 43:19
  Speaker 2: complaints about things that they need would just bounce off
• 43:22
  Speaker 2: men's craniums and they would say, back to the minds
• 43:25
  Speaker 2: with you, I don't care. In fact, that's that's why
• 43:31
  Speaker 2: you put people you don't care about in the minds,
• 43:34
  Speaker 2: because you don't care about them. Yeah, and you get
• 43:39
  Speaker 2: some where women get got put. They got put in
• 43:42
  Speaker 2: the harems with all other precious objects, although they weren't objects.
• 43:48
  Speaker 2: They were just precious and and they and you know,
• 43:52
  Speaker 2: if you are a rich matron in Rome, or if
• 43:56
  Speaker 2: you were just part of the senatorial class, your female
• 43:59
  Speaker 2: member of the Senate, you didn't walk through the streets. You
• 44:02
  Speaker 2: were carried in a litter. Your men walked, they walked
• 44:06
  Speaker 2: beside you, and you got carried in a litter. That
• 44:10
  Speaker 2: is not the behavior of people who regard you as
• 44:16
  Speaker 2: expendable or unworthy. Okay. Usually the slaves carry the litters,
• 44:22
  Speaker 2: they don't ride in them, or they walk beside them
• 44:25
  Speaker 2: to protect them. Okay, let's keep going right next.
• 44:29
  Speaker 3: Time, Code Toyola University, Chicago. In the eye of the beholder,
• 44:35
  Speaker 3: if you are observing women in movies, TV, fashion, social media,
• 44:40
  Speaker 3: and marketing, and they don't feel as fully materialized as
• 44:44
  Speaker 3: their male counterparts, that is the male gaze. The woman's
• 44:49
  Speaker 3: value is reduced insofar as existing for pleasure or basically
• 44:53
  Speaker 3: an object.
• 44:54
  Speaker 2: Zayer said, no, no, no, no, no no no no
• 44:59
  Speaker 2: no no no no, it's not your Lamborghini is in
• 45:04
  Speaker 2: another castle. It's your princess is in another castle. Right.
• 45:08
  Speaker 2: Do you know why? Because Mario isn't sympathetic if he's
• 45:12
  Speaker 2: doing everything for a material object, but he is sympathetic
• 45:17
  Speaker 2: if he's doing something for a woman. That is the difference,
• 45:20
  Speaker 2: and you can't get away from it because you use it.
• 45:22
  Speaker 2: Feminists use it every day to get what they want
• 45:26
  Speaker 2: from men. So she's lying, she's flat out lying. And
• 45:30
  Speaker 2: if she was, if she was writing this herself, if
• 45:33
  Speaker 2: she was reading this herself, she would be grining like this,
• 45:38
  Speaker 2: I'm getting away with this lie because that's what all
• 45:44
  Speaker 2: How many times have we looked at feminists, right, you know,
• 45:47
  Speaker 2: the feminists out in front of an audience and they
• 45:50
  Speaker 2: have a gigantic duper's, duper's grin, duper's delight grin on
• 45:55
  Speaker 2: their face. Why because they know that they're lying to
• 46:00
  Speaker 2: your face about you men, And they know that, for
• 46:04
  Speaker 2: whatever reason, you believe them as they lie to your
• 46:09
  Speaker 2: face about you, as they say things that are self contradictory,
• 46:16
  Speaker 2: like you don't care about me, now, prove you care
• 46:19
  Speaker 2: about me? Right, they're lying. This is all a huge lie,
• 46:28
  Speaker 2: and it only works because it's a lie. It's a
• 46:30
  Speaker 2: con We are literally we are literally ruled by the
• 46:36
  Speaker 2: Nigerian prince scam Connors, except they're feminists. That's the center
• 46:43
  Speaker 2: of our society. That's who decides how men and women relate.
• 46:47
  Speaker 2: A bunch of con artists who have absolutely no loyalty
• 46:53
  Speaker 2: to anything but the con. Wow, we really fucked ourselves.
• 47:00
  Speaker 1: Okay, all right, so I'm gonna play this next bit.
• 47:04
  Speaker 1: But she's gonna explain, like what the history of the
• 47:07
  Speaker 1: male gaze is. Uh so, let's let's listen to this.
• 47:11
  Speaker 3: It's bond girls and a long lingering shot panning up
• 47:17
  Speaker 3: a woman's body in an advertisement for soda. It's when
• 47:21
  Speaker 3: an action movie accessory is running through explosions in tiny
• 47:25
  Speaker 3: shorts and flowing curled hair before collapsing helplessly in the
• 47:30
  Speaker 3: hero's arms.
• 47:31
  Speaker 2: Are you freaking kidding me? Are you're gonna First of all,
• 47:34
  Speaker 2: that doesn't happen anymore. Saturated with boss babes that everybody
• 47:38
  Speaker 2: doesn't like, including women, all right, yea.
• 47:41
  Speaker 1: He thinks it's coming back, but it literally hasn't. We
• 47:43
  Speaker 1: haven't seen that since the nineteen eighties, and in the
• 47:47
  Speaker 1: nineteen eighties not really. I guess like maybe the fifties
• 47:51
  Speaker 1: with the with the B movie, the B Monster movies,
• 47:54
  Speaker 1: maybe the.
• 47:54
  Speaker 2: Bee Monster movies. But this, this is a feminist reimagining
• 48:01
  Speaker 2: of Hollywood. Okay. And then the other thing is that
• 48:05
  Speaker 2: they've never challenged a fundamental aspect of this gender dynamic,
• 48:11
  Speaker 2: which is the value put in women. Right. Like I said,
• 48:17
  Speaker 2: Mario isn't sympathetic because he's saving a bunch of gold.
• 48:21
  Speaker 2: He's sympathetic because he's saving a woman, because we put
• 48:26
  Speaker 2: moral value in saving women, right, And they completely they
• 48:31
  Speaker 2: don't want to recognize that because that gives too many
• 48:34
  Speaker 2: clues to their grift. Right, you start to realize, oh, hey,
• 48:38
  Speaker 2: we put moral value into saving women. What if feminism
• 48:41
  Speaker 2: constantly do it says women need saving from things, and
• 48:46
  Speaker 2: the way that you save them is by giving feminism
• 48:49
  Speaker 2: more clout and money. Hmm. It gets the allmans rustling. Okay,
• 48:59
  Speaker 2: let's keep going.
• 49:01
  Speaker 1: Yeah, let's keep going.
• 49:03
  Speaker 3: Making a recipe while all dulled up and explaining her
• 49:06
  Speaker 3: steps in a soft, sultry voice.
• 49:09
  Speaker 1: Okay, So I want to reread that last sentence because
• 49:12
  Speaker 1: this is, like, how much of a stretch this is?
• 49:16
  Speaker 1: So she starts by saying it's bond girls and a
• 49:20
  Speaker 1: long lingering shot panning up a woman's body in an
• 49:22
  Speaker 1: advertisement for soda. So the male gaze was originally framed
• 49:26
  Speaker 1: by Laura Mulvey in nineteen seventy five, and it was
• 49:30
  Speaker 1: a film thing where we would have and you've seen
• 49:32
  Speaker 1: these shots where a camera starts at a woman's feet
• 49:35
  Speaker 1: and it slowly pans up to her face. It's supposed
• 49:38
  Speaker 1: to like so you like, so you get a good
• 49:40
  Speaker 1: look at her whole body, so you can see how
• 49:41
  Speaker 1: beautiful she is. And there, of course they're saying that's
• 49:45
  Speaker 1: oppression or whatever, but that's what it was, a specific definition.
• 49:50
  Speaker 1: But then they're changing it to be more than that,
• 49:54
  Speaker 1: where it's like, oh no, it's actually when there is
• 49:56
  Speaker 1: a woman in a in an action movie. Action movies
• 49:59
  Speaker 1: are generally a at men, so the women are usually
• 50:02
  Speaker 1: the subject of a romantic interest for the male lead
• 50:07
  Speaker 1: character in most cases, right, And then so that that's
• 50:11
  Speaker 1: not sexual at all, that's just like a relational thing
• 50:15
  Speaker 1: that we're looking at. It's just it's just a heterosexual
• 50:18
  Speaker 1: story basically. And then you get the last example where
• 50:23
  Speaker 1: this is the absolute crazy part. A social media influencer
• 50:27
  Speaker 1: or star making a recipe while all dulled up and
• 50:30
  Speaker 1: explaining her steps in a soft sultry voice. How does
• 50:34
  Speaker 1: that are men on the internet looking for cooking recipes
• 50:38
  Speaker 1: or women doing that? Like? This is the This reminds
• 50:42
  Speaker 1: me of do you remember that there was this viral
• 50:47
  Speaker 1: video on I think it was on x or Instagram
• 50:49
  Speaker 1: or something, and it was a woman like a like
• 50:52
  Speaker 1: a trad wife influencer, and she was like baking something
• 50:56
  Speaker 1: and but the camera had her boot tubes and frame
• 51:00
  Speaker 1: while she was baking right now, it wasn't like super
• 51:04
  Speaker 1: you know, lurid or anything, but she was obviously stacked
• 51:08
  Speaker 1: and and it was like it was in the shot
• 51:10
  Speaker 1: while she was baking or cooking or something, and I
• 51:14
  Speaker 1: saw like it went viral and it was kind of
• 51:16
  Speaker 1: a ship storm, but there were no men really saying anything.
• 51:19
  Speaker 1: It was all women like criticizing each other because they
• 51:23
  Speaker 1: were like, oh, well, you can't do that. You're you know,
• 51:24
  Speaker 1: you're you're being like you're being slutty online and there
• 51:27
  Speaker 1: were other women defending it, like you had basically sex
• 51:30
  Speaker 1: negative and sex fop positive feminist fighting about this video.
• 51:34
  Speaker 1: And she's trying to make the case that this is
• 51:37
  Speaker 1: male gaye stuff. Men had nothing to do with it.
• 51:40
  Speaker 1: Men don't want videos of women cooking, if they are
• 51:43
  Speaker 1: putting on makeup while they explained something from their car.
• 51:46
  Speaker 1: You know, if men want to see boobies, the Internet's
• 51:50
  Speaker 1: got a lot better sources for that. So that's not
• 51:52
  Speaker 1: why they're you know what I'm saying. So she's she's
• 51:55
  Speaker 1: making shit up and making it the male gaze when
• 51:59
  Speaker 1: it obviously is not.
• 52:00
  Speaker 2: So yeah, yeah, yeah, one hundred percent. And it like,
• 52:07
  Speaker 2: how often do you see this, that there's a conflict
• 52:11
  Speaker 2: between women and then suddenly men get dragged in as
• 52:15
  Speaker 2: a to be blamed for the conflict.
• 52:19
  Speaker 1: Because somehow the sisterhood without even knowing, Yeah.
• 52:23
  Speaker 2: Exactly, Okay, my cat's being a bit distracting.
• 52:29
  Speaker 1: All right.
• 52:30
  Speaker 3: The male gaze has always been around are in the
• 52:33
  Speaker 3: eye of the male beholder, but the term came into
• 52:37
  Speaker 3: modern existence as a feminist theory, coined by film critic
• 52:41
  Speaker 3: Laura Mulviy in nineteen seventy five. Although it started as
• 52:45
  Speaker 3: a lens through which to view film movie, specifically calling
• 52:50
  Speaker 3: out Marylyn Monroe's appearance in the River of No Return
• 52:55
  Speaker 3: and movie director Alfred Hitchcock's rear window, it has expanded
• 53:01
  Speaker 3: to encompass cultural perspectives that keep men's stories, experiences, and
• 53:07
  Speaker 3: interest as the societal priority and treat women as objects.
• 53:12
  Speaker 2: Okay, no, no, no no. And you know what, the
• 53:15
  Speaker 2: next thing that they're using is sexualized. They're sexualizing. Yes,
• 53:20
  Speaker 2: heterosexual men sexualize women, all right, that is the thing
• 53:25
  Speaker 2: that they do. Okay, That's why we exist because women.
• 53:31
  Speaker 2: Men find women attractive. That's in fact, why we probably
• 53:35
  Speaker 2: have an advanced civilization in part not just physically attractive,
• 53:39
  Speaker 2: but also emotionally attractive. Most of these guys also find
• 53:42
  Speaker 2: femininity attractive, not just female bodies, but also femininity the
• 53:47
  Speaker 2: way that women relate to the world. Sorry, my cat
• 53:52
  Speaker 2: is demanding thumps, I'm not actually abusing her.
• 53:57
  Speaker 1: The River No Return is Memorial Rose wearing jeans throughout
• 54:02
  Speaker 1: the whole movie. I don't know how this is objectification,
• 54:05
  Speaker 1: but but what the It's not even like, you know,
• 54:08
  Speaker 1: like gentlemen prefer blondes or diamonds, are a girl's best
• 54:12
  Speaker 1: friend or whatever some of her more like let's say,
• 54:16
  Speaker 1: sexy stuff. I mean, but she was like a famous
• 54:19
  Speaker 1: for her looks. Like, I don't get why this is
• 54:22
  Speaker 1: a problem. Of course, the problem is that men enjoy it,
• 54:24
  Speaker 1: that's all it is. The problem. Is is that men
• 54:27
  Speaker 1: enjoy it. Women can be sexual as they want to
• 54:29
  Speaker 1: as long as there are no men looking. It's like
• 54:32
  Speaker 1: the invisible boy from Mystery Men invisible but nobody's looking.
• 54:36
  Speaker 1: So okay. But anyway, I have.
• 54:42
  Speaker 2: Stuff. Can you hear me? The boy cat destroy something?
• 54:45
  Speaker 1: All right?
• 54:46
  Speaker 2: Just uh? I have I have commentary if my cat.
• 54:51
  Speaker 2: If I could just not be under attacked by my cat,
• 54:53
  Speaker 2: I could tell you all right objective like, there are
• 55:01
  Speaker 2: people who genuinely objectify other human beings. They're not actually
• 55:04
  Speaker 2: dangerous people. It is a very debilitating brain disorder. Right,
• 55:10
  Speaker 2: So this is actually ridiculous on its face, and it's
• 55:13
  Speaker 2: in defiance of how human sexual sexuality actually works. We've
• 55:18
  Speaker 2: replaced mechanical or chemical signals, like for example, chimps have
• 55:25
  Speaker 2: gigantic and gorged rears when they are going through heat.
• 55:30
  Speaker 2: They have chemical signals to potential mates. We've replaced that
• 55:35
  Speaker 2: mostly with social signals. Right, So our sexuality is actually
• 55:41
  Speaker 2: deeply tied with our theory of mind. It's why eyes
• 55:46
  Speaker 2: and what we look at is actually a sexual signal, right,
• 55:50
  Speaker 2: because it is a signal of interest, and we respond
• 55:55
  Speaker 2: sexually to our perception of other people's desire for us,
• 56:00
  Speaker 2: which is a very, very psychologically complex phenomenon. So our
• 56:06
  Speaker 2: sexuality is actually at the heart of our understanding of
• 56:09
  Speaker 2: ourselves and our ability to conceptualize other people's minds and
• 56:14
  Speaker 2: our own minds. Right, So when feminists say talk about objectification,
• 56:19
  Speaker 2: they are actually trivializing and debasing something so profound to
• 56:27
  Speaker 2: who we are as human beings. It's actually sort of disgusting.
• 56:32
  Speaker 2: It's not the objective what they're terming objectification isn't disgusting
• 56:36
  Speaker 2: the fact that they're saying it's objectification. It's actually denying
• 56:42
  Speaker 2: an essentially human part of our psychology. They're lying to
• 56:47
  Speaker 2: us about ourselves and we when we tolerate it. And
• 56:51
  Speaker 2: I have a specific thing that I observed. I recently
• 56:55
  Speaker 2: watched the Wheel of Time series. Do not watch it,
• 56:59
  Speaker 2: it is awful. But there was this one scene in
• 57:03
  Speaker 2: the movie and this is in the in the series,
• 57:06
  Speaker 2: and this is the first scene that actually showed a
• 57:08
  Speaker 2: woman's breast on display, like unabashedly. And I saw that,
• 57:13
  Speaker 2: and I'm like, this is about to turn into a
• 57:14
  Speaker 2: lesbian scene, isn't it, Because this has to be a
• 57:17
  Speaker 2: statement about how these breasts aren't for men. They're only
• 57:21
  Speaker 2: for other women, And that's exactly what happened. I knew,
• 57:25
  Speaker 2: I knew it was going to end up with some
• 57:28
  Speaker 2: kind of lesbian thing.
• 57:30
  Speaker 1: Time.
• 57:31
  Speaker 2: Yeah, reel of time, Yeah it was. It's all gay now, yeah,
• 57:34
  Speaker 2: it's all gay except for the main male character. But yeah,
• 57:41
  Speaker 2: she had her her breasts on display, and I, like
• 57:44
  Speaker 2: I said, I knew from experience that that meant that
• 57:47
  Speaker 2: lesbianism was incoming, because they would never do that and
• 57:51
  Speaker 2: present it as something for a man to enjoy, or
• 57:55
  Speaker 2: as something as a woman seducing a man in that way. Sorry,
• 58:02
  Speaker 2: what did you say?
• 58:03
  Speaker 1: I said, it's not real lesbianism if they're not fighting.
• 58:06
  Speaker 1: But I'm kidding.
• 58:10
  Speaker 2: Yeah, she's the guy who's did the domestic violence joke.
• 58:16
  Speaker 2: I don't know, maybe maybe the punchline should have been
• 58:18
  Speaker 2: her girlfriend already told her God damn. Okay, all right,
• 58:24
  Speaker 2: so I.
• 58:25
  Speaker 1: Got a super chow. Thank you, David lowboy for ten dollars,
• 58:29
  Speaker 1: and he says, honey for the Badger's Feminism is one
• 58:32
  Speaker 1: of the many griffs which attempt to convince you that
• 58:34
  Speaker 1: you're sick while they just happen to have a cure
• 58:37
  Speaker 1: to sell you right here. Well, it's not even the cure.
• 58:40
  Speaker 1: It's a placebo.
• 58:41
  Speaker 2: But yes, yeah, well of course it always is right.
• 58:44
  Speaker 1: And yeah, they don't they don't want to fix it.
• 58:46
  Speaker 1: They would stop getting paid.
• 58:49
  Speaker 2: Yeah, the cat is not in heat. She is just she.
• 58:52
  Speaker 2: I know exactly what she wants. There are treats over there.
• 58:56
  Speaker 2: They are about seven feet away from me, and that
• 59:01
  Speaker 2: is what she wants. She wants me to go over
• 59:03
  Speaker 2: there and put down some treats for her, right, and
• 59:10
  Speaker 2: if she does. If I do that, she will settle
• 59:13
  Speaker 2: down for a bit. But I don't want to give
• 59:16
  Speaker 2: her too many treats because they're not good for her. Right.
• 59:19
  Speaker 2: So she's got me in a bit of a bind. However,
• 59:21
  Speaker 2: I will go and I will give her a few treats.
• 59:27
  Speaker 1: All right, Well, I'm going to play more of this.
• 59:30
  Speaker 3: The male gaze includes stories told about women in relation
• 59:34
  Speaker 3: to a male character think wife, daughter, victim, and media
• 59:39
  Speaker 3: in which the camera angles and visual storytelling make the
• 59:43
  Speaker 3: audience feel like they're viewing the women from a heterosexual
• 59:47
  Speaker 3: male's perspective.
• 59:49
  Speaker 1: Zayer added, so, basically, a story that has a male
• 59:55
  Speaker 1: protagonist and a female in it is male gaze. Just
• 1:00:01
  Speaker 1: any story that's where we're at now. It used to
• 1:00:04
  Speaker 1: be a very specific thing that you might see where
• 1:00:08
  Speaker 1: the camera would slowly pan up a woman to like
• 1:00:11
  Speaker 1: emphasize her attractiveness to whoever's looking, because I think women
• 1:00:16
  Speaker 1: can appreciate beautiful women even if they're not gay themselves,
• 1:00:22
  Speaker 1: and it's it's just a way where we are wired.
• 1:00:25
  Speaker 1: It works. It's what men do to women in reality too,
• 1:00:28
  Speaker 1: you know. But now it's not that. It's just like
• 1:00:31
  Speaker 1: any story that has a woman in it and a
• 1:00:36
  Speaker 1: male man, any story with a male protagonist is sexist.
• 1:00:39
  Speaker 1: And I'll tell you why. And I said, this is
• 1:00:41
  Speaker 1: the Patron show. If there's a woman in the story,
• 1:00:43
  Speaker 1: then that's male gayzy. Right. It could be. You know,
• 1:00:46
  Speaker 1: we talked about the Mummy before. That's male gayzy. We've
• 1:00:49
  Speaker 1: talked about Indiana Jones. There are women. There's a woman
• 1:00:52
  Speaker 1: in that male gayzy. Superman the nineteen seventies one male
• 1:00:56
  Speaker 1: gazy whatever it is. Any James Bond film, all of
• 1:00:59
  Speaker 1: them basically except maybe the last one, where they probably
• 1:01:02
  Speaker 1: tried everything to under to undercut that. And even then
• 1:01:05
  Speaker 1: I think Ananda Armas is in it. So you know,
• 1:01:09
  Speaker 1: any movie that has a male protagonist and a female
• 1:01:13
  Speaker 1: character in the movie and they interact is male gayzy.
• 1:01:16
  Speaker 1: But but if you make a movie with no women
• 1:01:19
  Speaker 1: in it, that's also problematic. I know she's not gonna
• 1:01:22
  Speaker 1: say that in here, although I'm sure she would agree
• 1:01:24
  Speaker 1: with me, because there's no representation. So you can't do
• 1:01:27
  Speaker 1: that either. Take for example, any number of war films
• 1:01:31
  Speaker 1: where you know, or samurai films where you have like
• 1:01:34
  Speaker 1: an army or a unit. I talked about this on
• 1:01:36
  Speaker 1: The Patriot Show. There's a World War two movie called Fury.
• 1:01:41
  Speaker 1: I think it has like Brad Pitt and shy La
• 1:01:43
  Speaker 1: buff and they're like a tank team, and it's in
• 1:01:46
  Speaker 1: World War two, and I don't think there's any women
• 1:01:48
  Speaker 1: in it, or if there are, they're very like they're
• 1:01:49
  Speaker 1: extras in the background or something. But that would be
• 1:01:52
  Speaker 1: a problem because you know, it's it's male. It's excluding
• 1:01:56
  Speaker 1: women from the from the story. Or you know Thirteen Assassins,
• 1:02:00
  Speaker 1: which is a samurai film, I don't believe there's any
• 1:02:03
  Speaker 1: women in it that have speaking roles. Or Lawrence of Arabia,
• 1:02:06
  Speaker 1: which famously has no women in it, like you know,
• 1:02:11
  Speaker 1: and those would be a problem too. So if there's
• 1:02:12
  Speaker 1: a woman in it, but it has a main a
• 1:02:14
  Speaker 1: male main character, it's a problem. If there are no
• 1:02:17
  Speaker 1: women in it, then that's even probably even a bigger problem.
• 1:02:20
  Speaker 1: So what's the solution. Basically, there there has to be
• 1:02:23
  Speaker 1: women in it that are the main character, and there
• 1:02:25
  Speaker 1: are no men, or the men are gay, or they're
• 1:02:28
  Speaker 1: useless or or ancillery. They're completely arbitrary and extra because
• 1:02:33
  Speaker 1: otherwise it's it gets male gazy, and that's problematic.
• 1:02:36
  Speaker 2: So yeah, and male gaze also includes character archetypes that
• 1:02:41
  Speaker 2: have nothing to do with sexuality, focus on men doing things,
• 1:02:46
  Speaker 2: so it's not just male gays. To have boobies on
• 1:02:48
  Speaker 2: the screen that aren't immediately immediately someone doesn't immediately paying
• 1:02:54
  Speaker 2: a sign on them, say for women only. You know,
• 1:02:58
  Speaker 2: this is this is the.
• 1:02:59
  Speaker 1: Lesbian So the original Yeah, like I talked about on
• 1:03:03
  Speaker 1: the Paper show two movies where there are a man
• 1:03:07
  Speaker 1: and a woman and they're working together and there's no
• 1:03:09
  Speaker 1: romantic subplot, they're just partners. And that was RoboCop, the
• 1:03:14
  Speaker 1: original RoboCop where you know, because RoboCop had a family
• 1:03:18
  Speaker 1: before he died, So I'm sure that Virjhoven thought it'd
• 1:03:20
  Speaker 1: be weird if he like hooked up with his uh,
• 1:03:24
  Speaker 1: Lewis was his partner, and Lewis was kind of like masculine,
• 1:03:27
  Speaker 1: like she wasn't like a feminine character really. And then
• 1:03:31
  Speaker 1: there was Dread where you had judged Dread at the
• 1:03:34
  Speaker 1: one from twenty twelve with Carl Urban where he teams
• 1:03:37
  Speaker 1: up with Anderson and you know, they're just they're just
• 1:03:40
  Speaker 1: two people together on a mission. But they would call
• 1:03:42
  Speaker 1: that problematic too, because there's a number of other ways
• 1:03:45
  Speaker 1: you can skin the cat. Let's say, So there's no
• 1:03:49
  Speaker 1: way to do this right for these people.
• 1:03:52
  Speaker 2: Yeah, no, there's only the only submission. That's it. That's
• 1:03:55
  Speaker 2: the way that you exist as a man as you submit.
• 1:03:58
  Speaker 2: But also realize that as you say, you lose all
• 1:04:01
  Speaker 2: your desirability to everyone everywhere, and you become even more expendable.
• 1:04:07
  Speaker 2: So there you go that those are the options. Also,
• 1:04:09
  Speaker 2: you don't deserve rights because men's rights are gross. Okay,
• 1:04:14
  Speaker 2: how did we get here? How did we get to
• 1:04:16
  Speaker 2: the point where a woman can use the phrase men's
• 1:04:19
  Speaker 2: rights and be like, all that, that's all I have
• 1:04:22
  Speaker 2: to say? That that's the worst.
• 1:04:24
  Speaker 1: That's what it was. Wasn't that what the point of
• 1:04:26
  Speaker 1: it was when it started? Yeah, Well, they could say, look,
• 1:04:29
  Speaker 1: at these people. They're men's rights activists, and everyone's supposed
• 1:04:32
  Speaker 1: to laugh. That's supposed to be the end of the
• 1:04:34
  Speaker 1: That was supposed to be the end of the argument.
• 1:04:36
  Speaker 2: Men's rights consists of, Yeah, everyone laughs, all the normies
• 1:04:39
  Speaker 2: laugh at us. What do you think men's rights consist of?
• 1:04:42
  Speaker 2: Do you process sible remedies for slander? Father's rights, the
• 1:04:47
  Speaker 2: right to have it redress when you're a victim of
• 1:04:51
  Speaker 2: domestic violence or sexual assault, Like, all of these are
• 1:04:54
  Speaker 2: human's rights. Why are they funny? Why is it something contemptible?
• 1:05:00
  Speaker 2: Who thinks that these things are contemptible? And why are
• 1:05:03
  Speaker 2: they not seen as contemptible? Mm hmm, okay, all right?
• 1:05:09
  Speaker 1: Eleven fifty two.
• 1:05:16
  Speaker 3: Right here videos that revived a restrictive beauty ideal on
• 1:05:22
  Speaker 3: social media. Using sexuality to sell the male gaze remains
• 1:05:27
  Speaker 3: a profitable marketing tool. Underlying many advertisements is the message
• 1:05:33
  Speaker 3: that if only a woman could be more beautiful and
• 1:05:37
  Speaker 3: appealing to men, they can find love, acceptance, and a
• 1:05:42
  Speaker 3: better version of their lives. All for the low low
• 1:05:47
  Speaker 3: price of these weight loss gummies or that workout program.
• 1:05:52
  Speaker 2: Well, you know, honestly, all for the low low price
• 1:05:55
  Speaker 2: of not treating men like shit, but that seems to
• 1:05:59
  Speaker 2: elude the average woman, like get your looks matched and
• 1:06:05
  Speaker 2: don't treat him like complete shit, or at least make
• 1:06:07
  Speaker 2: it easy, make it easier for him, make his life easier.
• 1:06:11
  Speaker 2: There you go, the end.
• 1:06:13
  Speaker 1: That's it, right, Yeah, try to support them.
• 1:06:18
  Speaker 2: Yeah, that's it. The bar is not very high, ladies.
• 1:06:26
  Speaker 1: The problem is that you're.
• 1:06:28
  Speaker 2: What you're trying to do is you're trying to punch
• 1:06:30
  Speaker 2: well above your weight instead of simply I don't want
• 1:06:34
  Speaker 2: to say settling. You know what. Settling gets a bad rap.
• 1:06:37
  Speaker 2: Settling just means that you commit to something. That's it,
• 1:06:44
  Speaker 2: that you say, Okay, well there are may be other
• 1:06:46
  Speaker 2: options out there, but I don't care. I'm getting on
• 1:06:49
  Speaker 2: with my life. Checkbox checked done. Move on right, this
• 1:06:55
  Speaker 2: this is this is this is the person I've chosen,
• 1:07:00
  Speaker 2: his foibles, I have chosen to live with right understanding him,
• 1:07:06
  Speaker 2: I have taken on as my life's work. Trying to
• 1:07:08
  Speaker 2: make his life somewhat easier is one of my goals.
• 1:07:13
  Speaker 2: There you go, that's it, Move on, It's it. It's
• 1:07:20
  Speaker 2: so hilarious if these women like this call me a
• 1:07:23
  Speaker 2: pick me right when they want to stay in the
• 1:07:26
  Speaker 2: internal state almost picked well. But here's the problem. You
• 1:07:35
  Speaker 2: completely define yourself by men. Like this is I've been
• 1:07:41
  Speaker 2: doing this thing with Groc lately, where I ask Groc
• 1:07:44
  Speaker 2: when I'm getting to an argument and one of these
• 1:07:46
  Speaker 2: feminists start talking to me about how I center my
• 1:07:49
  Speaker 2: life on women. I ask Groc how much of their
• 1:07:52
  Speaker 2: content is devoted to men. It's like seventy eighty ninety
• 1:07:57
  Speaker 2: percent of this feminist content is devoted to men. They
• 1:08:00
  Speaker 2: one hundred percent center their lives on men. Right, They
• 1:08:04
  Speaker 2: center their lives on men more than I do. Okay,
• 1:08:08
  Speaker 2: because for me, I want a partner, I want a companion,
• 1:08:11
  Speaker 2: but I also want to do my own shit, which
• 1:08:14
  Speaker 2: is probably why I try not to create drama because
• 1:08:18
  Speaker 2: it gets in the way of doing stuff right. That
• 1:08:23
  Speaker 2: isn't being that isn't centering men. That's just having a
• 1:08:27
  Speaker 2: man in your life. There's a huge difference, Like I
• 1:08:31
  Speaker 2: haven't centered well. I mean, you know, this is the
• 1:08:34
  Speaker 2: work that I do, and I can't believe that it's
• 1:08:36
  Speaker 2: coming down to me to do it because I've never
• 1:08:38
  Speaker 2: considered myself a particularly nice person. But God's sake, like
• 1:08:43
  Speaker 2: men never get told that they have worth, They never
• 1:08:47
  Speaker 2: get told that they're a benefit to society anymore. They
• 1:08:51
  Speaker 2: never get any mentorship in their stories anymore. It's all
• 1:08:55
  Speaker 2: just blanket condemnation and even condemnation of being responsive to
• 1:09:01
  Speaker 2: the things that women use to manipulate them, like their sexuality.
• 1:09:08
  Speaker 2: This woman is condemning men just for desire. It's like
• 1:09:11
  Speaker 2: a rich person going out and saying, those poor people,
• 1:09:15
  Speaker 2: they shouldn't even be able to look at my lamborghini.
• 1:09:18
  Speaker 2: Some one should cane them for it. They shouldn't even
• 1:09:22
  Speaker 2: be able to look upon my person. They should be
• 1:09:24
  Speaker 2: dragged out and pelted with tomatoes. How dare they like?
• 1:09:30
  Speaker 2: That's what she's doing. She is criminalized, she is, and
• 1:09:33
  Speaker 2: it is criminalizing. Actually, ultimately that's the end goal. But
• 1:09:37
  Speaker 2: she is rendering antisocial men just having desire for women,
• 1:09:42
  Speaker 2: That's what she's doing. What entitlement is this? What stink
• 1:09:52
  Speaker 2: of self righteousness is this? What moral corruption is this? Okay?
• 1:10:00
  Speaker 2: I mean, I guess you could say that, you know,
• 1:10:03
  Speaker 2: it's adultery according to the Bible. But in the Bible
• 1:10:07
  Speaker 2: it also says that everybody's a sinner, and she certainly
• 1:10:10
  Speaker 2: doesn't think she's a sinner. No, yeah, all right, she
• 1:10:17
  Speaker 2: thinks that she's she's in position to judge all of
• 1:10:19
  Speaker 2: the other sinners, well, all the men as sinners. But
• 1:10:23
  Speaker 2: of course she's not a sinner. And I'm pretty sure
• 1:10:26
  Speaker 2: that that's pretty essential to avoid self righteousness, is to
• 1:10:30
  Speaker 2: recognize that everyone is sinner, is a sinner, everyone sin.
• 1:10:35
  Speaker 1: Yeah, we all fall, we all fall short.
• 1:10:37
  Speaker 2: We all fall short.
• 1:10:38
  Speaker 1: That's okay, because we do.
• 1:10:41
  Speaker 2: So that's why self righteous a sinner gets into heaven
• 1:10:47
  Speaker 2: before the self righteous woman, because she's setting herself up
• 1:10:51
  Speaker 2: in judgment of others, you know, and maybe maybe it
• 1:10:54
  Speaker 2: is a sin to desire women who are not your wife,
• 1:10:59
  Speaker 2: But she's she's not pointing the us out in the
• 1:11:01
  Speaker 2: position of taking responsibility for her own sins, and in fact,
• 1:11:05
  Speaker 2: she probably should just do that. And her sins are
• 1:11:10
  Speaker 2: envy and self righteousness and probably sloth. Okay, that's what
• 1:11:17
  Speaker 2: I'm guessing. Probably, Okay, let's keep going, all right.
• 1:11:21
  Speaker 1: So I got a super chow from Gary Thomas again
• 1:11:23
  Speaker 1: for five Thank you, Gary, And he says. In the
• 1:11:25
  Speaker 1: nineteen sixty eight movie The Lion in Winter, Katherine Hepburn
• 1:11:28
  Speaker 1: plays Eleanor of Aquitaine. She is the only prominent female character,
• 1:11:34
  Speaker 1: and every male character is completely unprepared in how to
• 1:11:36
  Speaker 1: deal with her. We have Katherine Hepburn, the most awarded
• 1:11:40
  Speaker 1: actress in Hollywood history, playing one of the most powerful
• 1:11:43
  Speaker 1: women in European history. But remember women were portrayed badly
• 1:11:47
  Speaker 1: in all previous media and women never had real power.
• 1:11:50
  Speaker 1: Well they still don't. Actually that's not even They were
• 1:11:54
  Speaker 1: just starting to. They were just starting to get a whiff,
• 1:11:57
  Speaker 1: you know, just a whisper of power, and then the
• 1:11:59
  Speaker 1: male game turned back on them like the eye of Salurn,
• 1:12:02
  Speaker 1: and they're basically like forced to hide back in their caves.
• 1:12:07
  Speaker 1: So yeah, we just turned to look and women were
• 1:12:09
  Speaker 1: oppressed again. So but they were almost out, like they
• 1:12:12
  Speaker 1: were so close, they were so close.
• 1:12:14
  Speaker 2: And then men did like the lifted a finger and
• 1:12:17
  Speaker 2: women were back in their caves. No, no, no, no,
• 1:12:20
  Speaker 2: actually no, men didn't even lift a finger. They just
• 1:12:24
  Speaker 2: had a thought. And the men said what if women
• 1:12:29
  Speaker 2: were desirable? And then women were like, oh, we're back
• 1:12:32
  Speaker 2: in our cage. We could no longer live just a thought.
• 1:12:37
  Speaker 2: You see, that's how powerful you men are, guys. You
• 1:12:40
  Speaker 2: just think it, and my women have to do it.
• 1:12:42
  Speaker 2: So if you're if you're dealing with like a court case,
• 1:12:46
  Speaker 2: you know, you're dealing with a family law. All you
• 1:12:48
  Speaker 2: have to do is just think it. And then your
• 1:12:51
  Speaker 2: horrible X will have to give you custody and also, uh,
• 1:12:57
  Speaker 2: the judge will have to put your child support at
• 1:13:00
  Speaker 2: a reasonable level that you can actually pay that. All
• 1:13:03
  Speaker 2: you have to do is think it. This is this
• 1:13:05
  Speaker 2: is the thing, This is the secret. M hmm, good lord,
• 1:13:13
  Speaker 2: I wonder if this is no. It's okay. Let's let's
• 1:13:17
  Speaker 2: just listen to more some more.
• 1:13:19
  Speaker 3: All right, toward a more inspirational and sophisticated approach. But
• 1:13:25
  Speaker 3: the changes haven't always stuck. Social media influencer Alex Earl
• 1:13:31
  Speaker 3: was featured in a twenty twenty five Super Bowl ad
• 1:13:34
  Speaker 3: for Carls Junior, wearing a bikini top and taking a
• 1:13:37
  Speaker 3: slow motion burger bite debate over a woman's role there.
• 1:13:43
  Speaker 1: Is let me find where that is in here? Oh,
• 1:13:48
  Speaker 1: here we go. So, but the changes haven't always stuck.
• 1:13:51
  Speaker 1: Social media influencer Alex Earle was featured in a twenty
• 1:13:54
  Speaker 1: twenty five Super Bowl Yeah but she's a social media
• 1:13:57
  Speaker 1: influencer who is Alex Earl. So basically we have social
• 1:14:05
  Speaker 1: media personalities now, right, instead of they're like the new
• 1:14:08
  Speaker 1: celebrities and it's probably dominated by women that particular like
• 1:14:14
  Speaker 1: the area of social media influence because social media is
• 1:14:18
  Speaker 1: call of duty for women, and that means the people
• 1:14:20
  Speaker 1: with the highest KD ratio, with the best stats are
• 1:14:24
  Speaker 1: the ones that are going to go to the top.
• 1:14:25
  Speaker 1: You know, they're going to speed run to fame and
• 1:14:30
  Speaker 1: work with all of the handicaps. And I guess she
• 1:14:32
  Speaker 1: did because now she works. She did an ad for
• 1:14:35
  Speaker 1: Carl's Junior. And again this is men's fault. According to
• 1:14:39
  Speaker 1: this author of The Male Gays, So.
• 1:14:46
  Speaker 3: Okay, an ideological gap between women and men, particularly younger men,
• 1:14:53
  Speaker 3: when it comes to men wanting to adhere to more
• 1:14:56
  Speaker 3: stereotypical gender roles. According to research from IPSOS this year.
• 1:15:01
  Speaker 2: You wait a second, founder, So men want to adhere
• 1:15:07
  Speaker 2: to more you mean men want to be masculine because
• 1:15:10
  Speaker 2: I'm pretty sure she allows women to be feminine and
• 1:15:13
  Speaker 2: whatever else they want to be. So, and she also
• 1:15:17
  Speaker 2: talks about at one point she talks about how men
• 1:15:20
  Speaker 2: have restrictive Actually I think that I'll let her do it,
• 1:15:23
  Speaker 2: but I just want to point out women could be anything.
• 1:15:26
  Speaker 2: Men have to constantly be policed.
• 1:15:31
  Speaker 1: Yeah, Shall I continue? Okay?
• 1:15:32
  Speaker 3: Yes, Mark Zuckerberg said that the corporate world has become
• 1:15:36
  Speaker 3: culturally neutered and generally offices need more masculine energy. Meanwhile,
• 1:15:43
  Speaker 3: both fringe influencers and more mainstream role models have taken
• 1:15:47
  Speaker 3: to podcasts in social media to assert that women should
• 1:15:51
  Speaker 3: be responsible for homemaking and men for protecting and providing.
• 1:15:56
  Speaker 1: Are you literally okay? But you're not going to tell
• 1:15:58
  Speaker 1: us who that is, but you did say? Fringe influencers
• 1:16:03
  Speaker 1: and more mainstream role models have taken a podcast in
• 1:16:07
  Speaker 1: social media to assert that women should be responsible for
• 1:16:09
  Speaker 1: homemaking and men for protecting and providing. Well, just do
• 1:16:12
  Speaker 1: what you want. They're not making you do anything. It's
• 1:16:16
  Speaker 1: funny that people sharing opinions online is the same as
• 1:16:18
  Speaker 1: people voting, you know, to like expand the welfare state
• 1:16:24
  Speaker 1: and open the border and allow women to like do
• 1:16:26
  Speaker 1: whatever they want and we pay for it without realizing
• 1:16:30
  Speaker 1: the violence attached to those claims. Meanwhile, guys just saying
• 1:16:33
  Speaker 1: or anyone because I bet this is another thing too,
• 1:16:36
  Speaker 1: She said fringe influencers and more mainstream role models, So
• 1:16:40
  Speaker 1: she's not gonna say it out loud, but it sounds
• 1:16:42
  Speaker 1: like that's women saying that stuff. Because if it was
• 1:16:45
  Speaker 1: a man saying it, she would name the dude, but
• 1:16:48
  Speaker 1: it's not. It's a woman.
• 1:16:50
  Speaker 2: So anyway, yeah.
• 1:16:55
  Speaker 1: Let me see, go ahead.
• 1:16:57
  Speaker 2: Traditional, it's not a traditional like homemade isn't a traditional.
• 1:17:02
  Speaker 2: That's traditional roles for women involved provision, providing something themselves
• 1:17:07
  Speaker 2: to the family. That is a role constructed for women
• 1:17:13
  Speaker 2: of consumer right, And what a surprise. It was constructed
• 1:17:19
  Speaker 2: after World War Two when the US became the world
• 1:17:26
  Speaker 2: reserve currency. So we had this whole push in the
• 1:17:28
  Speaker 2: US in particular, because that's where Hollywood comes from, to
• 1:17:32
  Speaker 2: reconstruct women's role from producer to consumer. And that's not traditional.
• 1:17:40
  Speaker 2: I mean, that's like seventy five years old now and
• 1:17:46
  Speaker 2: moving from producer to consumer. So a consumer of goods
• 1:17:51
  Speaker 2: like a consumer of instead of canning, you buy cans.
• 1:17:57
  Speaker 2: Instead of doing the laundry, you have it done for
• 1:17:59
  Speaker 2: you by a machine. You know, instead of baking, you
• 1:18:02
  Speaker 2: buy pre made mixes, et cetera, et cetera. So you
• 1:18:04
  Speaker 2: become a consumer and as a process, as a boon
• 1:18:08
  Speaker 2: you lose. You go from a six day a week,
• 1:18:13
  Speaker 2: twelve hour day job to a three hour a week,
• 1:18:17
  Speaker 2: three hour a day, five days a week job. So homemakers,
• 1:18:22
  Speaker 2: the homemaking role, which is not a traditionally feminine role.
• 1:18:26
  Speaker 2: It's not a traditionally anything role. It's an entirely Hollywood construction,
• 1:18:31
  Speaker 2: entirely Madison Avenue in Hollywood construct. So that role is
• 1:18:37
  Speaker 2: one that usually takes about twenty five hours a week total. Okay,
• 1:18:44
  Speaker 2: that's with children. Everybody else works fifty hours. The homemaker
• 1:18:47
  Speaker 2: works twenty five and her primary responsibility, if you can
• 1:18:51
  Speaker 2: call it that is to consume. Okay. And she's saying
• 1:18:56
  Speaker 2: that men working to make that life available to their
• 1:19:01
  Speaker 2: wives is oppression of their wives. This is absolute bullshit.
• 1:19:08
  Speaker 2: That was the first iteration of completely defining men by
• 1:19:14
  Speaker 2: the benefit of women. That was the first iteration. You
• 1:19:18
  Speaker 2: go to work, your wife is the consumes what you make, Like,
• 1:19:22
  Speaker 2: instead of both of you producing, you produce, she consumes.
• 1:19:28
  Speaker 2: That was the first step towards defining the world. Well,
• 1:19:33
  Speaker 2: and actually the first step was, of course Charles Foyer
• 1:19:36
  Speaker 2: literally creating the feminist formulation that society is judged by
• 1:19:39
  Speaker 2: the benefit to women. But that was another iteration of that.
• 1:19:44
  Speaker 2: It's not traditionalism, it's just I don't know, it's like
• 1:19:48
  Speaker 2: proto feminism. It's the beginning of feminism because it gives
• 1:19:53
  Speaker 2: women the time, the envy and the resentments and self
• 1:19:58
  Speaker 2: righteousness and the idle hands to construct something monstrous. So
• 1:20:04
  Speaker 2: it's proto feminism, that's what.
• 1:20:06
  Speaker 1: That is like.
• 1:20:07
  Speaker 2: Without without house homemakers, without the change from a homestead
• 1:20:13
  Speaker 2: er to a homemaker, we probably wouldn't have widespread feminism
• 1:20:16
  Speaker 2: because women wouldn't have had the time to pursue it.
• 1:20:19
  Speaker 1: Mm hmm.
• 1:20:21
  Speaker 2: So and she's and she's saying that's oppression. Well, of course,
• 1:20:25
  Speaker 2: because oppression is always a moving target. The last thing
• 1:20:28
  Speaker 2: that women that happened, that men gave women to try
• 1:20:32
  Speaker 2: to save them from whatever thing they're framing like, uh,
• 1:20:37
  Speaker 2: the labor of the home, the last thing that men
• 1:20:40
  Speaker 2: gave them. That that becomes the new oppression. And now
• 1:20:44
  Speaker 2: the next thing has to be aimed for. So now
• 1:20:47
  Speaker 2: women need to consume rights like they consume doilies and
• 1:20:51
  Speaker 2: and uh pre mixed bake goods. Right, they have to
• 1:20:55
  Speaker 2: consume rights now. After rights, I don't know what's gonna happen,
• 1:21:00
  Speaker 2: like after seeing rights themselves as consumables, I don't know
• 1:21:04
  Speaker 2: what the next step is for women. What is the
• 1:21:07
  Speaker 2: next thing we have to deconstruct and provide for women
• 1:21:10
  Speaker 2: to benefit them.
• 1:21:11
  Speaker 1: Okay, well social control is going to be that's where
• 1:21:15
  Speaker 1: that's where we're at. Now, we got a super chat
• 1:21:18
  Speaker 1: from D who gives us five dollars and says, what's
• 1:21:22
  Speaker 1: the male gaza? Thought the war was over? No idea?
• 1:21:24
  Speaker 1: What you're talking about? Well, you're lucky. Then look up
• 1:21:28
  Speaker 1: the male gaze ga ze not g a y s
• 1:21:34
  Speaker 1: and I think that's just a joke. I think it
• 1:21:38
  Speaker 1: is a joke. But I'm still going to use this
• 1:21:40
  Speaker 1: to explain what we're doing. So we're looking at an
• 1:21:43
  Speaker 1: article written by a feminist talking about how the male
• 1:21:46
  Speaker 1: gaze is back and so women are are are no
• 1:21:49
  Speaker 1: longer human again? Make women not human again? So what
• 1:21:56
  Speaker 1: you did? You already mention the fundraiser? I think it's up.
• 1:21:59
  Speaker 1: I don't know if you mentioned Oh yeah.
• 1:22:00
  Speaker 2: Okay, yeah, So if you would like to support the show,
• 1:22:04
  Speaker 2: please go to feed the Badger dot com slash support
• 1:22:06
  Speaker 2: and help us out. A monthly fundraiser is live. You
• 1:22:09
  Speaker 2: can also create an ongoing subscription at Feedbadger dot com
• 1:22:13
  Speaker 2: slash subscribe. There's a link in the fundraiser as well.
• 1:22:15
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• 1:22:39
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• 1:23:03
  Speaker 2: maybe ten bucks a month. All of our income is
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  Speaker 2: based on you, guys, and you are rare. You are
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• 1:23:18
  Speaker 2: prototype of some kind, and you are stubborn enough to
• 1:23:22
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• 1:23:26
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• 1:23:29
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• 1:23:31
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• 1:23:35
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• 1:23:41
  Speaker 2: want to do that, all right, let's shall we?
• 1:23:46
  Speaker 1: Yeah, let's see fifteen forty three. I think yeah, I'm
• 1:23:49
  Speaker 1: already at the next.
• 1:23:50
  Speaker 3: Time code and caring for the emotional well being of
• 1:23:54
  Speaker 3: those you love. Men can be strong, good listeners, and
• 1:23:59
  Speaker 3: be of sir to their family, they say. Men who
• 1:24:02
  Speaker 3: can take care of themselves, think laundry and cooking.
• 1:24:06
  Speaker 2: Yes, this is good, Okay, this is this is how
• 1:24:11
  Speaker 2: they do it. Because men want these things, they position
• 1:24:15
  Speaker 2: themselves as like the arbiters of how men acquire this.
• 1:24:20
  Speaker 2: Because men want to protect and provide for their family.
• 1:24:23
  Speaker 2: They want to protect and provide for women. They want
• 1:24:25
  Speaker 2: to benefit women. They want to understand women. You want
• 1:24:29
  Speaker 2: to have these things innately. And then feminists position themselves
• 1:24:33
  Speaker 2: as the middleman or the middle woman for these things.
• 1:24:36
  Speaker 2: They're going to tell you how to get them right.
• 1:24:39
  Speaker 2: They're gonna if you listen to feminists, then you will
• 1:24:42
  Speaker 2: become a good man. But they didn't make you want
• 1:24:45
  Speaker 2: to be a good man. This is what I'm talking about.
• 1:24:48
  Speaker 2: Feminists did not make men want to be good. They
• 1:24:52
  Speaker 2: are exploiting men's desire already existing desire to be good
• 1:24:57
  Speaker 2: in order to gain clout and manipulate you and gain
• 1:25:02
  Speaker 2: money from you. That's how it works. And when she
• 1:25:07
  Speaker 2: presents this as oh, feminists are what make men good, No,
• 1:25:12
  Speaker 2: feminists are what exploit, are exploiting men's desire to be good.
• 1:25:20
  Speaker 2: That is inherent to the beast. All right, let's keep going.
• 1:25:24
  Speaker 1: All right.
• 1:25:25
  Speaker 3: They may be more attractive to women, the counter messages say,
• 1:25:29
  Speaker 3: and women often push back against narrow ideas of who
• 1:25:33
  Speaker 3: they are and what they can be. Women want to
• 1:25:36
  Speaker 3: see media that resonates with their lived experience. According to
• 1:25:41
  Speaker 3: research from the GENA. Davis Institute, which studies GENA.
• 1:25:45
  Speaker 1: Davis Institute, it's funny timing too, because this has recently
• 1:25:51
  Speaker 1: been coming out a lot. If you don't know, let
• 1:25:55
  Speaker 1: me show you, guys. The GENA. Davis Institute has been
• 1:25:59
  Speaker 1: around the nineties and it is a organ or maybe
• 1:26:05
  Speaker 1: the early two thousands, but Geena Davis has been around
• 1:26:08
  Speaker 1: since the nineties. The actress, the actress from Beetlejuice and
• 1:26:12
  Speaker 1: Cutthroat Island and Long Kiss good Night and you know
• 1:26:16
  Speaker 1: Thelman Louise, and she wanted to change media to be
• 1:26:21
  Speaker 1: more feminist friendly, which again this is Hollywood we're talking about,
• 1:26:26
  Speaker 1: like already super feminists as an institution. But this is
• 1:26:30
  Speaker 1: what these people do, like they look at a world
• 1:26:34
  Speaker 1: that is, they look at the world they live in
• 1:26:36
  Speaker 1: their bubble as already, which is already extremely favorable to
• 1:26:41
  Speaker 1: their worldview, and then they say this isn't good enough
• 1:26:44
  Speaker 1: and they want more. So they accuse Hollywood of sexism
• 1:26:48
  Speaker 1: when Hollywood is about as you knows, as feminist as
• 1:26:50
  Speaker 1: it gets because maybe sometimes you know, they're they're I
• 1:26:54
  Speaker 1: don't know, being female is a challenge for whatever reason.
• 1:26:58
  Speaker 1: So anyway, Gina Day, we've started this to change all
• 1:27:02
  Speaker 1: of our media, and she started this institute and they
• 1:27:05
  Speaker 1: have like a rule book and everything in how they
• 1:27:08
  Speaker 1: in what they do. Okay, so I'll just show you
• 1:27:12
  Speaker 1: the about page really quick for context. Who we are.
• 1:27:15
  Speaker 1: For twenty years, the Geena Davis Institute has been at
• 1:27:17
  Speaker 1: the forefront of championing equitable representation in media. Our commitment
• 1:27:21
  Speaker 1: to building a better world extends beyond gender, encompassing the
• 1:27:24
  Speaker 1: interconnected identities often marginalized in the media. See not men
• 1:27:30
  Speaker 1: basically any gender except the men. Through our groundbreaking research,
• 1:27:35
  Speaker 1: we understand the life changing impact of representation and have
• 1:27:38
  Speaker 1: devoted ourselves to pioneering new pathways within entertainment and media.
• 1:27:42
  Speaker 1: And so they basically are a resource for all of
• 1:27:45
  Speaker 1: this data that is basically compiled by feminist academics and
• 1:27:50
  Speaker 1: various other feminist institutions, and they use that to apply
• 1:27:54
  Speaker 1: pressure to people who create content so that it will
• 1:27:58
  Speaker 1: be more feminist friendly. And they're they're in our television,
• 1:28:02
  Speaker 1: they're in our advertising, they're in our literature, they're in
• 1:28:04
  Speaker 1: our music, they're in our video games, they're in our movies.
• 1:28:08
  Speaker 1: They're in all of it, you know, And they're they're
• 1:28:12
  Speaker 1: the ones. I mean, they're not the only ones. Some
• 1:28:14
  Speaker 1: people think this is the final boss of wokeness. It's not.
• 1:28:17
  Speaker 1: There's plenty of other NGOs and groups that are doing this,
• 1:28:21
  Speaker 1: but they're one of the big ones. So and this
• 1:28:25
  Speaker 1: isn't something that just started with Geena Davis. This is
• 1:28:27
  Speaker 1: much older as well, which is another misconception that people have.
• 1:28:32
  Speaker 1: But yeah, so that's what they're referencing. So this is
• 1:28:36
  Speaker 1: again another instance of feminists referencing the work of other feminists,
• 1:28:42
  Speaker 1: which is criticizing other feminists. So it's like they're all
• 1:28:46
  Speaker 1: operating within the same paradigm, and it's just a purity
• 1:28:50
  Speaker 1: spiral of what is feminist enough, and the rest of
• 1:28:54
  Speaker 1: us are just going along for the ride. There is
• 1:28:56
  Speaker 1: no counter argument. It's all in their same death spiral.
• 1:29:02
  Speaker 1: Like you know, So there's.
• 1:29:04
  Speaker 2: Never feminist enough because the problem is their mentality. They
• 1:29:10
  Speaker 2: don't accept the legitimacy of men at all. They don't
• 1:29:14
  Speaker 2: accept the legitimacy of men's position, their interests, or any
• 1:29:19
  Speaker 2: aspect of masculine cognition, shall we say, or identity. They
• 1:29:25
  Speaker 2: have to control it all. And what's interesting is when
• 1:29:28
  Speaker 2: I was reading that, I actually asked, okay, So it
• 1:29:34
  Speaker 2: was talking about representation in the media. If you go
• 1:29:38
  Speaker 2: back in time, the women, the female characters actually are
• 1:29:43
  Speaker 2: more interesting, they're more compelling, and that's because they have
• 1:29:47
  Speaker 2: to be justified to be there, right, And and so
• 1:29:52
  Speaker 2: this is actually like, what this ideology is constructing is
• 1:29:58
  Speaker 2: destroying women's represent and media. I mean, it's destroying men's
• 1:30:03
  Speaker 2: But that's obvious. And honestly, the more I watch examples
• 1:30:09
  Speaker 2: of this kind of media. So we watched Ironheart, we've
• 1:30:12
  Speaker 2: watched Wheel of Time, We've watched other examples of the
• 1:30:17
  Speaker 2: media that individuals from this intersectional framework create what we
• 1:30:24
  Speaker 2: have with the writing team that I watched this stuff with,
• 1:30:28
  Speaker 2: we have this principle that we're calling the androgathic principle,
• 1:30:33
  Speaker 2: and what it is is that, unintentionally, completely without any
• 1:30:40
  Speaker 2: conscious intent, these writers make the male characters the most interesting,
• 1:30:51
  Speaker 2: the most relevant to the plot. So things happen when
• 1:30:54
  Speaker 2: male characters are on the screen, the most charismatic for
• 1:30:58
  Speaker 2: whatever reason, and the most the ones with the biggest,
• 1:31:05
  Speaker 2: biggest real impact emotionally consistently they do this, so whenever
• 1:31:10
  Speaker 2: a male character is on the screen, the writing somehow,
• 1:31:14
  Speaker 2: the entire storytelling improves. And now I have some theories
• 1:31:17
  Speaker 2: as to or conjecture hypotheses as to why this is so.
• 1:31:21
  Speaker 2: A male character has to be there, has to be
• 1:31:23
  Speaker 2: a justification for him to be on the screen. There's
• 1:31:26
  Speaker 2: no justification in terms of representation, so we have to
• 1:31:30
  Speaker 2: have some kind of reason in terms of his character
• 1:31:33
  Speaker 2: or the plot for him to be there, which makes
• 1:31:35
  Speaker 2: them interesting, which means that they have to drive something happening. Okay,
• 1:31:40
  Speaker 2: a male character can still be judged by his actions,
• 1:31:44
  Speaker 2: not by how things have happened to him. So when
• 1:31:48
  Speaker 2: male characters are on the screen. We know they will
• 1:31:51
  Speaker 2: be judged, there will be consequences to their actions, consequences
• 1:31:55
  Speaker 2: presented to other people, which is the essence of an
• 1:31:58
  Speaker 2: interesting character.
• 1:32:00
  Speaker 1: Right.
• 1:32:00
  Speaker 2: And then the other thing is we know that things
• 1:32:03
  Speaker 2: will happen to them that are unpleasant. Right this, No,
• 1:32:10
  Speaker 2: there are no holds barred when it comes to male characters.
• 1:32:12
  Speaker 2: They can be killed, right, they can suffer, they can
• 1:32:15
  Speaker 2: be tortured, they can be judged harshly. So there's all
• 1:32:20
  Speaker 2: kinds of steaks that exist for a male character that
• 1:32:22
  Speaker 2: just don't for the DEI characters. That is the androgathic principle.
• 1:32:27
  Speaker 2: Whenever a man is on the screen, even for these
• 1:32:29
  Speaker 2: intersectional writers, he is the most interesting character. Now, the
• 1:32:33
  Speaker 2: further back you go, the less that holds when you
• 1:32:37
  Speaker 2: are back in. When you're going back eighties cinema. Nineties
• 1:32:43
  Speaker 2: is when this started to really start to creep in.
• 1:32:45
  Speaker 2: But the eighties, seventies, the sixties, the fifties, forties, twenties.
• 1:32:50
  Speaker 2: The further back you go, the more female characters hold
• 1:32:54
  Speaker 2: their own, The more they're interesting, they're more they're plot relevant,
• 1:32:58
  Speaker 2: The more there's consequences to that actions, more there's stakes,
• 1:33:01
  Speaker 2: there's more there's expectations that they are held to while
• 1:33:06
  Speaker 2: still keeping a sort of distinctness to how men and
• 1:33:09
  Speaker 2: women approach the world. So what this GENA. Davis Institute
• 1:33:16
  Speaker 2: has done is destroy female representation in cinema. It's made
• 1:33:25
  Speaker 2: it worse, more unpalatable. While somehow men still remain the
• 1:33:32
  Speaker 2: most interesting characters no matter what they do, they still
• 1:33:36
  Speaker 2: remain the most interesting characters because they have the steaks,
• 1:33:41
  Speaker 2: they have the consequences to their actions. They're more likely
• 1:33:43
  Speaker 2: to be characterized through their actions and not through the
• 1:33:48
  Speaker 2: intersectional lens. So they're doing the exact opposite. And again,
• 1:33:54
  Speaker 2: this is what I've noticed with a lot of feminist institutions.
• 1:33:59
  Speaker 2: They do the exact opposite of what they say they're
• 1:34:02
  Speaker 2: going to do for women. Feminist DV organizations say they're
• 1:34:06
  Speaker 2: going to reduce the harms the domestic violence does that
• 1:34:10
  Speaker 2: women face in terms of domestic violence, and yet they
• 1:34:14
  Speaker 2: do the opposite because they prefer to promote feminism and
• 1:34:19
  Speaker 2: their own financial and political interests actually pushing interventions that
• 1:34:27
  Speaker 2: reduce the rate at which women are battered. Right, So
• 1:34:30
  Speaker 2: they are actually ensuring there are more female victims of
• 1:34:33
  Speaker 2: domestic violence because they prefer feminism over doing things that
• 1:34:37
  Speaker 2: reduce them. Gina Davis apparently prefers the power, prestige, the clout,
• 1:34:42
  Speaker 2: and the money her organization gets over interventions that promote
• 1:34:50
  Speaker 2: proper or representation of women in media that people actually
• 1:34:56
  Speaker 2: resonate with. So she's actually destroying the presentation women in
• 1:35:00
  Speaker 2: media and probably all of these other various gender identities.
• 1:35:04
  Speaker 2: She's destroying it in the name of promoting it, just
• 1:35:10
  Speaker 2: like feminist v's shall feminist promoting DV are destroying female
• 1:35:16
  Speaker 2: victims of DV. They're ensuring that they be there are
• 1:35:19
  Speaker 2: more of them and they don't escape because in the
• 1:35:25
  Speaker 2: name of what they say, they're advocating for and what
• 1:35:29
  Speaker 2: and what. And I see this over and over and
• 1:35:32
  Speaker 2: over and over again with feminist advocacy, and it's inescapable
• 1:35:36
  Speaker 2: to me that they have no interest in advocating for
• 1:35:40
  Speaker 2: women or improving the situation for women at all. All
• 1:35:45
  Speaker 2: they want is to advocate for feminism. And what feminism
• 1:35:50
  Speaker 2: is is a shorthand.
• 1:35:51
  Speaker 4: For Moullah, this is a massive grift and everywhere it touches,
• 1:36:05
  Speaker 4: it is just it is sucking all the value out
• 1:36:09
  Speaker 4: of society.
• 1:36:14
  Speaker 2: Okay, I don't probably want to get going soon, eh.
• 1:36:17
  Speaker 1: Poonish we got we got a couple more time codes,
• 1:36:22
  Speaker 1: so maybe yeah, we can do that, try to anyway.
• 1:36:26
  Speaker 1: So seven seventeen twenty. Let me see here, I like.
• 1:36:33
  Speaker 3: Right there in which they live. Women sometimes turn the
• 1:36:37
  Speaker 3: male gaze on one another. It happens when they objectify
• 1:36:41
  Speaker 3: themselves promote traditional gender.
• 1:36:44
  Speaker 1: So when women, when women, I don't want to say,
• 1:36:49
  Speaker 1: objectify themselves. When women, let's say, make themselves look nice
• 1:36:56
  Speaker 1: and men notice, then that's them you using the male
• 1:37:01
  Speaker 1: like women use the male gaze or they tearn it
• 1:37:04
  Speaker 1: like they can't control it, but maybe they can like
• 1:37:06
  Speaker 1: read like refract it like with a mirror, you know,
• 1:37:09
  Speaker 1: on on themselves or on other women. So she's and
• 1:37:13
  Speaker 1: so when women do feminine things like you know, wear makeup,
• 1:37:18
  Speaker 1: dress nice, take care of themselves like men like like
• 1:37:23
  Speaker 1: actually don't mind their company, that is them essentially using
• 1:37:28
  Speaker 1: like being male gazed or using it against each other.
• 1:37:30
  Speaker 1: Women perpetuate the male gaze by objectifying themselves or enforcing
• 1:37:35
  Speaker 1: traditional beauty standards.
• 1:37:37
  Speaker 3: Les as the ideal way of living, and enforce beauty
• 1:37:41
  Speaker 3: standards for others.
• 1:37:42
  Speaker 2: Sretel said, Okay, this is the tar pet and what
• 1:37:51
  Speaker 2: I mean by the tar pit. Is this focus, this
• 1:37:56
  Speaker 2: obsession with seeing your identity, yourself and your agency as
• 1:38:02
  Speaker 2: a woman through victimhood.
• 1:38:06
  Speaker 1: Right.
• 1:38:07
  Speaker 2: I see this so much in the women that I
• 1:38:10
  Speaker 2: argue with that I debate with. They see themselves through victimhood.
• 1:38:17
  Speaker 2: That is their primary characteristic, their primary way of navigating
• 1:38:21
  Speaker 2: the world. That is the tar pit. I actually I
• 1:38:27
  Speaker 2: have this discussion with one young feminist on Twitter, right,
• 1:38:33
  Speaker 2: and she brought up the Dictionary. I was explaining to
• 1:38:37
  Speaker 2: her what feminism has actually been doing manifestly, and I
• 1:38:43
  Speaker 2: can show all kinds of statistics and feminists own words
• 1:38:46
  Speaker 2: to prove it. And she brought up the Dictionary definition.
• 1:38:51
  Speaker 2: She said, this is the Dictionary definition of feminism. Therefore
• 1:38:54
  Speaker 2: you're wrong. So I brought up the Dictionary definition of
• 1:38:57
  Speaker 2: policing because I knew that she was say all all
• 1:39:02
  Speaker 2: all acabs, she was an ACB, and so she started
• 1:39:06
  Speaker 2: spouting out these tash tags all cops are bastards and
• 1:39:12
  Speaker 2: and and she's saying, oh, you say that within that
• 1:39:14
  Speaker 2: means you hate marginalized people, and like, do you not
• 1:39:20
  Speaker 2: understand the logical argument I'm making here? The Dictionary definition
• 1:39:27
  Speaker 2: of something does not mean the people who are part
• 1:39:31
  Speaker 2: of that thing, live up to it. That doesn't mean
• 1:39:34
  Speaker 2: you can appeal to the dictionary definition to absolve them
• 1:39:38
  Speaker 2: of any kind of criticisms for failing to live up
• 1:39:40
  Speaker 2: to the dictionary definition, which is an ideal, Like that
• 1:39:44
  Speaker 2: is the ideal of supposedly what feminism does. That isn't
• 1:39:49
  Speaker 2: necessarily the reality of what feminism does, just like the
• 1:39:52
  Speaker 2: dictionary definition of policing isn't necessarily the necessarily the reality
• 1:39:57
  Speaker 2: of what police actually do. Do you understand? And she
• 1:40:01
  Speaker 2: was like, she's just refused to understand that refused, And
• 1:40:06
  Speaker 2: so I asked Groc, do you understand the argument I'm making?
• 1:40:10
  Speaker 2: And Groc says, yes, there is a difference between the
• 1:40:14
  Speaker 2: ideal form of a thing and what it is in
• 1:40:17
  Speaker 2: actual reality, right what people make it out to be. So, yes,
• 1:40:23
  Speaker 2: policing is ideally upholding the laws and justice of a country,
• 1:40:28
  Speaker 2: but it doesn't like police don't always do that right,
• 1:40:33
  Speaker 2: and feminism supposedly is creating equality. I would argue that
• 1:40:38
  Speaker 2: they use that to hide what they're actually doing, but
• 1:40:41
  Speaker 2: that doesn't mean that doesn't mean that feminists are doing
• 1:40:46
  Speaker 2: that right. You can define them in any way, it
• 1:40:51
  Speaker 2: doesn't mean they actually live up to it, and Groc
• 1:40:54
  Speaker 2: understood that argument, and she didn't. And she was calling
• 1:40:59
  Speaker 2: Groc clanker a slur against AIS because she felt that
• 1:41:06
  Speaker 2: it wasn't it wasn't it wasn't it wasn't sufficient like
• 1:41:10
  Speaker 2: it was. It was a degradation to actually appeal to.
• 1:41:14
  Speaker 2: Not that she would listen to me if I actually
• 1:41:16
  Speaker 2: said these things, but anyway, I pointed out to her
• 1:41:21
  Speaker 2: that her ideology is making her operate at an intellectual
• 1:41:26
  Speaker 2: level that is lower than a clanker like Groc can
• 1:41:32
  Speaker 2: figure it out. Grock has the critical thinking skills that
• 1:41:36
  Speaker 2: you are denying. And then I said, do you ever
• 1:41:40
  Speaker 2: think about how boxing yourself in with this ideology, how
• 1:41:46
  Speaker 2: that affects your life, not just this conversation, but the
• 1:41:51
  Speaker 2: fact that you are forcing yourself to operate at a
• 1:41:54
  Speaker 2: lower level, to constantly be in a lower gear intellectually
• 1:41:59
  Speaker 2: in order to maintain and you're ideology. Do you think
• 1:42:02
  Speaker 2: that has any implications for the rest of your life?
• 1:42:06
  Speaker 4: Right?
• 1:42:07
  Speaker 2: Do you think that has any implications for how you
• 1:42:10
  Speaker 2: interact with the world around you. I think it has
• 1:42:14
  Speaker 2: any implications for your potential for achievement or self realization.
• 1:42:20
  Speaker 2: I don't know. I think she just said that I
• 1:42:22
  Speaker 2: was a racist. Probably probably, yeah, no interest. Like these women,
• 1:42:30
  Speaker 2: you're just like, okay, so feminism is actually sacrificing women
• 1:42:34
  Speaker 2: to maintain feminism. Does that matter to you. You're a misogynist,
• 1:42:39
  Speaker 2: You're a racist, so it doesn't fucking matter. You don't care.
• 1:42:43
  Speaker 2: You don't care that feminism is talking a big talk
• 1:42:45
  Speaker 2: about equality, but in reality, it's only maintaining its own power, right,
• 1:42:51
  Speaker 2: It's only maintaining its own power, and it's decided to
• 1:42:54
  Speaker 2: sacrifice women to do so. You don't care about that.
• 1:42:56
  Speaker 2: You don't care about how maintaining this ideol is creating
• 1:43:00
  Speaker 2: a mental handicap that's causing you to operate at like
• 1:43:04
  Speaker 2: a two second grade level of intellect. You don't care
• 1:43:08
  Speaker 2: about that. None of this matters. None of this is
• 1:43:12
  Speaker 2: brought into consideration when it comes to actually thinking about
• 1:43:16
  Speaker 2: the ideology that you're maintaining. And of course this woman said, oh,
• 1:43:20
  Speaker 2: why don't you educate yourself? I'm like, I have, I have.
• 1:43:26
  Speaker 2: I spent a lot of time looking at feminist initiatives,
• 1:43:30
  Speaker 2: feminist academic paper, feminist conjecture, feminist concoction, and talking to
• 1:43:36
  Speaker 2: feminists where they will talk to me. They won't talk
• 1:43:39
  Speaker 2: to me in public. What are they gonna do. They're
• 1:43:41
  Speaker 2: gonna ban me. We're gonna go to like a frickin university,
• 1:43:44
  Speaker 2: go to the women's center and start talking to them.
• 1:43:47
  Speaker 2: What do you think they're gonna do. They're gonna call security.
• 1:43:50
  Speaker 2: They'll probably get me labeled a terrorist.
• 1:43:53
  Speaker 1: All right, okay, so there's only one time code left.
• 1:43:59
  Speaker 1: Just knock it out really quick. Is her making suggestions
• 1:44:02
  Speaker 1: recommendations for media that challenge the male gaze by portraying
• 1:44:06
  Speaker 1: women as complex, powerful individuals. So let's listen to the recommendations.
• 1:44:12
  Speaker 3: Or lessons in chemistry seeing women be the heroines of
• 1:44:16
  Speaker 3: the action instead of.
• 1:44:20
  Speaker 1: Let me go back a little bit. It's wrong, okay,
• 1:44:23
  Speaker 1: I think right here.
• 1:44:25
  Speaker 3: The closeness of female relationships with movies like Book Smart,
• 1:44:29
  Speaker 3: Steel Magnolia's or Greta Gerwig's Little Women, or Watch Women
• 1:44:35
  Speaker 3: be Brilliant even when their sexuality isn't in focus with
• 1:44:40
  Speaker 3: hidden figures. Netflix is the Residents or lessons in chemistry.
• 1:44:47
  Speaker 1: But there you go, Alton, you got some homework to do.
• 1:44:50
  Speaker 1: Should watch those? I guess Steel Magnolia's I remember that
• 1:44:56
  Speaker 1: one winning a bunch of awards back in the day
• 1:45:00
  Speaker 1: a Netflix is The Residents Hidden Figures.
• 1:45:05
  Speaker 2: And these women, these women are too stupid to realize
• 1:45:09
  Speaker 2: how much they're being insulted. Yeah, and the funny thing
• 1:45:13
  Speaker 2: is it's not I don't think it's a congenital stupidity.
• 1:45:16
  Speaker 2: It's a stupidity caused by their ideological box. Like I said,
• 1:45:22
  Speaker 2: like this woman could not get my argument even though
• 1:45:24
  Speaker 2: Groc picked it up. Groc was showing greater critical thinking
• 1:45:28
  Speaker 2: than she was. And it's and I'm pretty sure she's
• 1:45:31
  Speaker 2: capable of it. I'm sure that all of these women
• 1:45:35
  Speaker 2: are capable of operating at a much higher level than
• 1:45:38
  Speaker 2: they are, but they choose to. They choose to handicap
• 1:45:44
  Speaker 2: themselves with this ideological box, and they don't. And because
• 1:45:50
  Speaker 2: they handicap themselves with this ideological box, they look at
• 1:45:54
  Speaker 2: this media and they don't realize how their character have
• 1:46:00
  Speaker 2: been become lesser, have been destroyed.
• 1:46:08
  Speaker 1: Well, yeah, this is about controlling the culture. That's that's
• 1:46:12
  Speaker 1: the reason why these articles exist. By the way, you know,
• 1:46:14
  Speaker 1: it seems like a silly thing that they're talking about,
• 1:46:17
  Speaker 1: you know, movies and TV, but you notice they talk
• 1:46:19
  Speaker 1: about it endlessly, right endlessly, And that's because they're terrified
• 1:46:25
  Speaker 1: of the control being like slipping slipping away from them
• 1:46:29
  Speaker 1: in the way that we tell our stories, and how
• 1:46:32
  Speaker 1: bad that everything has been in our media because they
• 1:46:36
  Speaker 1: have essentially like lowered the standards so much that like
• 1:46:42
  Speaker 1: where maybe it might have been progressive or feminists in
• 1:46:46
  Speaker 1: the nineties, it was at least smart enough that it
• 1:46:49
  Speaker 1: wasn't like a bad movie and it was hand fisting everything.
• 1:46:52
  Speaker 1: Now it is hand fisting everything because the expectations, the
• 1:46:56
  Speaker 1: quality of standards has dropped the point where there are
• 1:47:00
  Speaker 1: none and they're just letting anyone do whatever as long
• 1:47:03
  Speaker 1: as they're giving the right message. And so if somebody
• 1:47:06
  Speaker 1: like does like a halfway decent job, it gets praised
• 1:47:08
  Speaker 1: as like Oscar Worthy. You know, it's like why Barbie
• 1:47:12
  Speaker 1: made a billion dollars because I guess it was somewhat
• 1:47:14
  Speaker 1: competent and everyone lost their shit. But it's not a
• 1:47:17
  Speaker 1: good movie, and like there would have, like there were
• 1:47:20
  Speaker 1: movies like Long Kiss at Night, which I mentioned before
• 1:47:24
  Speaker 1: was a Geena Davis movie with Samuel L. Jackson, And
• 1:47:27
  Speaker 1: I like that movie because I like Samuel Jackson. He
• 1:47:31
  Speaker 1: was really funny in it. He was it was a
• 1:47:32
  Speaker 1: good time for that. But Geena Davis was probably the
• 1:47:35
  Speaker 1: most insufferable thing about the movie because she was putting
• 1:47:38
  Speaker 1: that girl boss thing. It was girl bossing before the
• 1:47:42
  Speaker 1: modern day. There was a lot of that stuff back then,
• 1:47:44
  Speaker 1: and that was one of them. It was just trying
• 1:47:46
  Speaker 1: to be like, you know, pulp fiction and just like
• 1:47:51
  Speaker 1: any sort of action movie, you know, but but yeah,
• 1:47:56
  Speaker 1: like that. At least back then though, you could like
• 1:47:59
  Speaker 1: have a good plot and some solid action and some
• 1:48:03
  Speaker 1: good dialogue and it would carry through. And the feminist
• 1:48:06
  Speaker 1: part was like you can almost like forgive it for that.
• 1:48:10
  Speaker 1: But nowadays there's nothing, there's nothing left. So anything that
• 1:48:13
  Speaker 1: that is, you know, just not absolute trash gets praised.
• 1:48:18
  Speaker 1: And they know that people are starting to walk away
• 1:48:20
  Speaker 1: from this stuff, like they're you know, they're losing money
• 1:48:23
  Speaker 1: on subscriptions. They have to like combine their streaming services
• 1:48:27
  Speaker 1: to give you a deal so that more people will
• 1:48:28
  Speaker 1: use them. A lot of people are watching older media now.
• 1:48:32
  Speaker 1: They're like, you know, pining for like when films were good,
• 1:48:35
  Speaker 1: So they're watching stuff from like the eighties, seventies, even
• 1:48:39
  Speaker 1: the nineties, but definitely like older stuff, black and white movies,
• 1:48:43
  Speaker 1: And I think that's a good thing. And because of that,
• 1:48:46
  Speaker 1: they're worried about new media, you know that they're they're
• 1:48:49
  Speaker 1: making a movie about George Washington and I don't know
• 1:48:52
  Speaker 1: why we never had one like kind of an important guy,
• 1:48:57
  Speaker 1: but we're and I think they're freaking out, you know. Hell,
• 1:49:01
  Speaker 1: I mean, biblical films are starting to like become really
• 1:49:04
  Speaker 1: popular right now. I think there was a movie called
• 1:49:07
  Speaker 1: It's an animated It was an animated movie called King
• 1:49:10
  Speaker 1: of Kings. I think I never saw it, but it's
• 1:49:13
  Speaker 1: it's you know, it was an animated, family friendly movie
• 1:49:17
  Speaker 1: about Jesus Christ. And I understand that it did really
• 1:49:20
  Speaker 1: well in theaters considering it was a small budget. And
• 1:49:23
  Speaker 1: that's mainly because there's nothing else, Like there's this trash
• 1:49:27
  Speaker 1: and it's not like that was weird. Like back in
• 1:49:29
  Speaker 1: the day the Ten Commandments was like a huge movie,
• 1:49:32
  Speaker 1: you know, with Charlton Heston had like big stars in it.
• 1:49:36
  Speaker 1: So I don't know, Yeah, I mean, what.
• 1:49:41
  Speaker 2: Well, Having gone through this this sort of careful analysis
• 1:49:45
  Speaker 2: of the writing, my conclusion is that intersectionality rats your
• 1:49:49
  Speaker 2: brain like it it actually you It limits your ability
• 1:49:56
  Speaker 2: to understand other people, and writing like the the one
• 1:50:00
  Speaker 2: skill that is basically parallel or basically can. The one
• 1:50:09
  Speaker 2: skill that really prove or really underpins writing is the
• 1:50:13
  Speaker 2: ability to get into other people's heads. So, I mean,
• 1:50:18
  Speaker 2: you don't necessarily have to write at a really high
• 1:50:20
  Speaker 2: degree in order to write something good. So we were
• 1:50:22
  Speaker 2: recently looking at the Sly Cooper Game two cut scenes.
• 1:50:27
  Speaker 2: That's competent writing. It's not writing like, it's not overwritten,
• 1:50:32
  Speaker 2: it's not trying to be anything but what it is.
• 1:50:35
  Speaker 2: But it's competent. It's competently done, So you don't have
• 1:50:38
  Speaker 2: to have like a lot of complexity. However, when you
• 1:50:41
  Speaker 2: look at the Wheel of Time, they're trying to do
• 1:50:44
  Speaker 2: things with their writing. It's overwritten because they're trying to
• 1:50:47
  Speaker 2: do things with their writing that they can't pull off
• 1:50:49
  Speaker 2: with their skill set. And one of the problems is
• 1:50:53
  Speaker 2: they don't have the ability to model other people's minds
• 1:50:58
  Speaker 2: they and that is the one one skill that really
• 1:51:02
  Speaker 2: translates into good writing. You can understand people with different
• 1:51:06
  Speaker 2: skill sets. You can understand people with different perspectives, different backgrounds,
• 1:51:10
  Speaker 2: different thought processes, different traumas, different religions, different ideologies. You
• 1:51:16
  Speaker 2: can get your mind into the mind of others. And
• 1:51:19
  Speaker 2: the more that you can do that, the better you're
• 1:51:20
  Speaker 2: writing is, and in particular, you have to get in
• 1:51:23
  Speaker 2: the mind of the audience, and that is very difficult.
• 1:51:27
  Speaker 2: A writer never knows what they're writing, they never really
• 1:51:31
  Speaker 2: know it. Only a reader can tell you what's your writing.
• 1:51:34
  Speaker 2: But you can if you can manage to emulate the
• 1:51:38
  Speaker 2: mind of a reader, you can improve your writing significantly.
• 1:51:42
  Speaker 2: And the biggest problem with intersectionals is they don't want
• 1:51:48
  Speaker 2: to understand their audience. They don't even seem to regard
• 1:51:52
  Speaker 2: their audience as human beings. They seem to regard themselves
• 1:51:56
  Speaker 2: their God. On the sixteenth Chapel Chapel, you know, putting
• 1:52:02
  Speaker 2: your finger down to touch Adam to give give them
• 1:52:05
  Speaker 2: the divine spark. That's the way intersectional writers, that's the
• 1:52:09
  Speaker 2: way they review their relationship with their audience. They have
• 1:52:13
  Speaker 2: the divine spark and they are granting it to their audience,
• 1:52:17
  Speaker 2: and their audience receives it and is becomes human and
• 1:52:23
  Speaker 2: they don't have that relationship of You got to try
• 1:52:27
  Speaker 2: to understand your audience. You got to empathize with them.
• 1:52:30
  Speaker 2: You got to realize that what you're writing is not
• 1:52:33
  Speaker 2: what they're reading necessarily, and you want to get your
• 1:52:37
  Speaker 2: writing to the point where it is what you want
• 1:52:41
  Speaker 2: them to be taking from it. But that requires respecting
• 1:52:45
  Speaker 2: how they experience your work. And there is absolutely no
• 1:52:49
  Speaker 2: respect when it comes to intersectional writers for their audience.
• 1:52:53
  Speaker 2: They don't want to understand them, they don't want to
• 1:52:55
  Speaker 2: please them. They just want to dominate them morally, and
• 1:52:58
  Speaker 2: that's why their stuff is craty. It's it's it's absolutely
• 1:53:02
  Speaker 2: awful because they just don't understand people. They just don't
• 1:53:06
  Speaker 2: and their entire ideology precludes them understanding people. So they're
• 1:53:10
  Speaker 2: trying to do a job that it requires a particular
• 1:53:17
  Speaker 2: It requires you to bring your a game in a
• 1:53:19
  Speaker 2: particular type of intelligence, and that intelligence is the ability
• 1:53:22
  Speaker 2: to model other people's minds. That's that's the essence of
• 1:53:25
  Speaker 2: good writing. Even if you don't like the Sly Cooper
• 1:53:29
  Speaker 2: cutscenes for Sly Cooper two, they were modeling the minds
• 1:53:33
  Speaker 2: of each of the characters in it. That wasn't necessarily
• 1:53:37
  Speaker 2: that they deviated that much from archetypes, but they still
• 1:53:40
  Speaker 2: did that right. That is the essential skill of storytelling,
• 1:53:46
  Speaker 2: and they are they adhere to an ideology that makes
• 1:53:53
  Speaker 2: you operate at like in terms of being able to
• 1:53:58
  Speaker 2: model people other people's it forces you to operate at
• 1:54:04
  Speaker 2: a sub kindergarten level. I mean, I think that they're
• 1:54:08
  Speaker 2: probably operating more at the level of a chimp in
• 1:54:11
  Speaker 2: terms of their ability to model people's minds, and they're
• 1:54:14
  Speaker 2: trying to do a job that requires that skill. Meanwhile,
• 1:54:19
  Speaker 2: they embrace an ideology that destroys their ability to develop
• 1:54:27
  Speaker 2: that skill. So that's why they're writing is terrible now.
• 1:54:31
  Speaker 2: In the past, these the individuals who were creative, still
• 1:54:38
  Speaker 2: had to understand other people, right, people on the left,
• 1:54:43
  Speaker 2: you know, in the past, when when there wasn't this
• 1:54:46
  Speaker 2: huge like nobody on the other side is human, which
• 1:54:48
  Speaker 2: was started by the left, they had to understand others
• 1:54:54
  Speaker 2: and it was their nuanced understanding of how people do
• 1:54:58
  Speaker 2: that made their ARTI work have merit. But now they
• 1:55:02
  Speaker 2: don't have that anymore. Now they have this grand narrative
• 1:55:05
  Speaker 2: where they don't have to care about people or understand
• 1:55:08
  Speaker 2: people who don't think like them. And that's probably why
• 1:55:12
  Speaker 2: I would say that I don't know what I don't
• 1:55:14
  Speaker 2: know if I want to call I don't know what
• 1:55:15
  Speaker 2: to call them because they aren't creative, they aren't open,
• 1:55:20
  Speaker 2: they aren't experimental, they have none of the qualities of
• 1:55:25
  Speaker 2: somebody who is. I guess you would call liberal if
• 1:55:29
  Speaker 2: you want to term it that. I don't know. Maybe
• 1:55:31
  Speaker 2: we need a completely new term for those qualities. They
• 1:55:33
  Speaker 2: have none of that. They are ossified, they're primitive in
• 1:55:38
  Speaker 2: their thinking, they are tribalistic, they don't think, they have
• 1:55:43
  Speaker 2: to understand new points of view. They are closed off.
• 1:55:48
  Speaker 2: So I mean, it's like I see the virtues of
• 1:55:52
  Speaker 2: a more liberal mindset, and they don't have any of them.
• 1:55:56
  Speaker 2: None of them. Okay, did you want to say anything
• 1:56:02
  Speaker 2: to that?
• 1:56:03
  Speaker 1: No, I'm good, okay, Uh. Yeah, it was the last
• 1:56:09
  Speaker 1: time code that I had, so.
• 1:56:15
  Speaker 2: The Cistine Chapel. Sorry, yes, it was the Cistine Chapel,
• 1:56:20
  Speaker 2: which I've seen. It's incredible. It's it is like, if
• 1:56:24
  Speaker 2: you ever see it like that, I would recommend it
• 1:56:27
  Speaker 2: because it looks like it looks like a hologram somehow.
• 1:56:31
  Speaker 2: I don't know how else to describe it. It's so
• 1:56:35
  Speaker 2: unbelievably rendered and so three dimensional and how it's rendered
• 1:56:39
  Speaker 2: like there's no picture that does it justice. You can
• 1:56:42
  Speaker 2: see why the Pope forced Michelangelo to do it. It was Michaelangel,
• 1:56:45
  Speaker 2: isn't it, uh?
• 1:56:48
  Speaker 1: The chapel? Yes, yeah, pretty sure.
• 1:56:52
  Speaker 2: Yeah, it is remarkable. It is. It is deeply impactful.
• 1:56:56
  Speaker 2: In fact, when I went to Rome, that was probably
• 1:56:59
  Speaker 2: one of the most impactful pieces of art that I saw.
• 1:57:02
  Speaker 2: I think the piat Piata Piata Pieta is also it
• 1:57:07
  Speaker 2: also has a big impact too.
• 1:57:10
  Speaker 1: Yeah, oh yeah, there's pets is huge. It had such
• 1:57:15
  Speaker 1: an impact on our all, all of our art, not
• 1:57:18
  Speaker 1: just the fine art.
• 1:57:21
  Speaker 2: Yeah. And that's when I mean, that's when like, uh,
• 1:57:26
  Speaker 2: I don't know, like religion could really capture these emotions
• 1:57:29
  Speaker 2: you talked about, I don't know if you tell me
• 1:57:31
  Speaker 2: when you need to leave. You talked about how they
• 1:57:34
  Speaker 2: want to claim stories. Maybe we should have called this
• 1:57:37
  Speaker 2: a red chill we want they want to claim stories, right,
• 1:57:41
  Speaker 2: mm hmm. And stories have a huge impact on how
• 1:57:45
  Speaker 2: we understand ourselves. And I was thinking about that in
• 1:57:48
  Speaker 2: the Wheel of Time. You know, they took a classic
• 1:57:51
  Speaker 2: archetypal hero's journey character in Randell four and they turned
• 1:57:56
  Speaker 2: it into nonsense. Basically, he's not even a coherent character.
• 1:58:03
  Speaker 2: And it's uh, it was, And I was thinking about
• 1:58:06
  Speaker 2: that because it's it's taking away boys guidance to becoming men.
• 1:58:14
  Speaker 2: Like this is what they're doing. They're destroying the stories
• 1:58:19
  Speaker 2: that guide boys into men, and they're doing it in
• 1:58:22
  Speaker 2: the guise of saying we're liberating them from manhood. That
• 1:58:26
  Speaker 2: you now you can be anything. No, what they mean
• 1:58:29
  Speaker 2: is you can be nothing. You have no you have
• 1:58:33
  Speaker 2: no particular value that you need to go through a
• 1:58:36
  Speaker 2: journey to learn to develop and wield for the benefit
• 1:58:41
  Speaker 2: of others, your society, et cetera. There's no because you
• 1:58:45
  Speaker 2: have no value. You have no story, because you have
• 1:58:47
  Speaker 2: no value as a boy. So why do you deserve
• 1:58:50
  Speaker 2: a story? And that is liberating you. We're liberating you
• 1:58:55
  Speaker 2: from having a value, see, because having a value restricts you.
• 1:59:00
  Speaker 2: It's like this, like are these women are like the
• 1:59:02
  Speaker 2: evil witches from a fairy tale? You know what it's
• 1:59:05
  Speaker 2: like like They often have these kind of very insidious, toxic,
• 1:59:11
  Speaker 2: seductive things that they say, Yeah, like your value, your value,
• 1:59:18
  Speaker 2: it chains you, it imprisons you, and if you throw
• 1:59:23
  Speaker 2: it away, you'll be free. You'll be free. Boys, You'll
• 1:59:28
  Speaker 2: be free. Oh good lord, Okay, okay, yeah, well yeah,
• 1:59:36
  Speaker 2: we have a last Yeah we should. You probably need
• 1:59:39
  Speaker 2: to pick up lindsay, I need to checkture my cat's okay.
• 1:59:44
  Speaker 2: She she got her treats and then she laid down
• 1:59:46
  Speaker 2: on the floor, So I'm like, are you are you? Yeah?
• 1:59:50
  Speaker 2: I think she's fine.
• 1:59:51
  Speaker 1: She just.
• 1:59:53
  Speaker 2: Decided to pass out there. All right, So once again,
• 1:59:58
  Speaker 2: feed the badger dot com side just the tip. You
• 2:00:00
  Speaker 2: can send us a tip and a message at any
• 2:00:03
  Speaker 2: point when the show is over. Very much appreciated if
• 2:00:06
  Speaker 2: you do so, and uh I will oh yes, and
• 2:00:10
  Speaker 2: where monthly fundraisers live it feedbadgery dot com slash support. Yeah,
• 2:00:16
  Speaker 2: and there's also a link there to the ongoing support
• 2:00:20
  Speaker 2: options if you so choose to help us out, which
• 2:00:22
  Speaker 2: is really appreciated. Again, we can only we can only
• 2:00:26
  Speaker 2: appeal to you stubborn people who don't run away at
• 2:00:30
  Speaker 2: the least mention of these ideas because they are very uncomfortable.
• 2:00:34
  Speaker 2: They are not things that people enjoy to talk about,
• 2:00:37
  Speaker 2: which is why they're not doing the obvious common sense
• 2:00:41
  Speaker 2: things to prevent us all from you know, falling into
• 2:00:43
  Speaker 2: the chasm like shared parenting. All right, I'll hand that
• 2:00:48
  Speaker 2: back to you, Brian.
• 2:00:51
  Speaker 1: Okay, Well, if you guys like this video, please hit
• 2:00:53
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• 2:00:57
  Speaker 1: leave us a comment, let us know what you guys
• 2:00:58
  Speaker 1: think about what we discussed on the show today. You'll
• 2:01:01
  Speaker 1: find a link to the article in the description of
• 2:01:03
  Speaker 1: this video if you want to read the whole thing
• 2:01:04
  Speaker 1: for yourself, and please, please please share this video because
• 2:01:08
  Speaker 1: sharing is caring. Thank you guys so much for coming
• 2:01:10
  Speaker 1: on today's episode of Maintaining Frame, and we'll talk to
• 2:01:13
  Speaker 1: you all in the next Men