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Why do feminists do this? | HBR Talk 285 · Honey Badger Radio

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  Hello, and welcome to Hannah's Mike doesn't unmute. Welcome to HBr Talk to
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  eighty five. Why do feminists do this? I'm your host, Hannah Wallen
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  here with the personification of perceptivity, Mike Stevenson, and tonight we're waiting into
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  a flood of feminist bulloony. But before we get to that, we gotta
• 0:24
  do what we gotta do. As always, Honey Badger Radio dishes out Ace
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  Brigade dot com, where you can find your way to all of our content,
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  as well as a link to feed the Badger dot com in the drop
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  down menu at the top of the page. And uh so, before we
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  get any further into this, I just wanted to point out sort of recap
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  a little bit, and then I also have some some lighthouse keeping to do,
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  so I'm not gonna do necessarily a show on it being November No Shave
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  November, but i will point out, you know, if you look up
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  the November website, it's it's it's there. It still funds a lot of
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  great things and a lot of men's health initiatives are included in that. And
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  uh you know, there's there's some differences of opinion on how good the site
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  still is because they are funding some psychology initiatives so and they they are focusing
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  also on male suicide, but they do seem to be focusing on it from
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  a more feminist perspective, and that that does bother me and a lot of
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  other people. On the other hand, they are also like you can see
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  a list on their site of the organizations doing research for uniquely male cancers,
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  test UH, testicular cancer, and prostate cancer, penal cancer. So even
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  if you don't want to participate in that, there is the possibility of going
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  on the site looking at who they're funding, and especially like they're they're doing
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  this internationally, so you could go and see who in their country you're funding.
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  And I'm sure that most of those organizations also have public information you can
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  find and this is a good month to do that simply because it'll be in
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  conjunction with funding coming in from that organization. So just depending on you know,
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  how you feel about the organization. And of course the other thing is
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  this Sunday. I believe it's this Sunday will be the nineteenth, and that
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  is International Men's Day. Now I haven't I haven't looked on the International Men's
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  Day website, but I've seen a few things about focusing again on the issue
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  of mail suicide for International Men's Day as well. So that's another one that
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  there are there are different organizations doing different things, and I kind of recommend
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  doing a search for that because there's there's too many things for me to list
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  off just today. So I just wanted to mention those two things. It's
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  kind of important to keep up on that. Be ready for the social media
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  blitz of feminists going you were talking about this on our day, so we're
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  going to talk about our day on your day and flooding you with comments about
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  toxic masculinity on International Min'sday just because they're assholes. And with that we'll get
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  into I just want to remind everybody what we've previously looked at in regard to
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  this, just the first few paragraphs of this article, there's been a pattern,
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  kind of established flood seems to be constructing strawmen of our actual talking points
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  and arguments in regard to the media, and then tossing just random feminist complaints
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  to try to knock them down. And so far, nothing that he has
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  said indicates that the media is either not man hating or that it doesn't cater
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  to female audiences. Mostly, what he's done is show that more men are
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  portrayed under a variety of situations. And you know, I look at that,
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  and you look at major media movies, television, games and stuff.
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  Yes, there are there is a diversity. As he says of positive and
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  negative roles, especially for white men. But what he leaves out is the
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  red shirt phenomenon. If you're gonna get rid of a character, if you're
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  gonna kill off a character, most media kills off a man. So there
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  if there are extra men in order to be killed off, if there's gonna
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  be you know, a character that everybody hates because that character does stupid things
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  or bad things, or gets the rest of the characters in trouble for one
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  reason or another. It's usually a man, right, comic relief. The
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  character that everybody makes fun of, usually a man like because you can't do
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  that with women, and it's remarkable when they do it with women, you
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  know. So the expendable character, the butt of the joke character, right,
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  the straight man, the the character that that you're supposed to applaud when
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  they get killed. Like everybody claps in the movie theater when the lawyer in
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  shit, I can't they get a stupid Island of the Dinosaurs movie? Damn
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  it? Why is that a blank in my head? Like that's that that
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  movie is Jurassic part that movie is like it's classic now it wasn't at the
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  time, but everybody clapped in the theater when the lawyer gets eaten, right
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  man, So you know, the asshole is a man. You don't see
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  women as often portrayed as assholes in modern pictures, or if they are,
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  it's supposed to be a good thing. So you know, we kind of
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  went over that. But he's going to start repeating himself here and so fair
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  warning about that. And then he's also going to make some claims that again
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  they're completely irrelevant, and we can explain why. So the last thing we
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  read last week was as a media report documents, which he does cite the
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  report. At the end of the paragraph he says, Smith, Smith and
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  all twenty twelve. So it now this tells you, by the way,
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  when when you cite a source to a feminist and they tell you twenty twelve
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  is too long ago, then you can point out that many of Flood's sources
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  for his claims are that old and older. But he says in the media
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  report documents, women comprise only twenty eight percent of characters and family films,
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  thirty nine percent of the characters on prime time TV, and thirty one percent
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  of those in children's programs. And I think I pointed out last week.
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  So we're talking of family films, characters on primetime TV, and children's programs,
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  right, and children's programs For one thing, children's programs feature a lot
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  of characters that are neither male nor female, right, just sort of the
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  splotch of happy, smiley emotions or that just puppets that don't have an outward
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  biological seys because they don't have a lower half of their body and stuff like
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  this. So and yet he's making out like like every character who isn't a
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  female character is therefore taking something away from female characters. I mean, you
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  can make a character out of anything. You can make a pencil talk,
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  but I guess if it talks in a slightly male voice, then it must
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  be male. And it may maybe men are easier to work with, particularly
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  in Hollywood, or aside from anything else, all he's doing is talking about
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  the number of characters, and that's that's not all there is when it comes
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  to representation on screen. Like if you've got like ten male characters and they
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  all represent different flaws, like they all have something a little bit wrong with
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  them, and that's and that's their purpose in the dynamic in the story.
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  And you have one female character, and she's perfect in every way. She's
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  what we refer to as a Mary sou She never does anything wrong. If
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  she ever needs help, she gets it, and she's she's the moral center
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  of the story. She's the one who reacts to everything, and you're always
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  expected to be on her side when it comes to the like you were talking
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  about earlier, how you can have a bunch of male villains and one female
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  hero and the likes of Michael Flood Will will Bechdel tests apples well. This
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  movie obviously hates women's much like the were they called not the Marvels, but
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  the Avengers. The Avengers have like ten slightly flawed men to every and and
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  and then they have Black Widow. And yet she's she's morally perfect in every
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  way, or that that scarlet witch thing, she's even even when she's burning
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  civilizations to death, she's still morally perfect in every way, or at least
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  that's that's what what what what they want us to think, whether well they
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  expect us to take away from it, so it's you can't just throw big
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  numbers at things. Actually examining how these characters are portrayed and how they how
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  the audience is expected to react to them, and it's always man bad,
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  women good, no matter how many men and women are. Yeah. Well,
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  and when you look at family films like I'm gonna I'm gonna go back
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  in time again. The look who's talking films? For instance, right,
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  there are three main characters. One of them is an infant, and then
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  the next next films you have the infant and the pets, and the main
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  characters aren't you know, there's there's the male and female adult male character or
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  main characters. Well, fifty percent of the adult main characters in that film
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  that series are female and fifty percent or male. And then you have you
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  know the other characters, a dog, a cat, and a baby,
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  if I remember right, there's a dog, and so again you know,
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  family films and numbers like that. When you get into that, it's feminist.
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  Feminists have this idea or this this sort of attitude that if women's egos
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  aren't catered to by by something, then women are not the target audience.
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  Right. But when we start mentioning the the superhero films, the various superhero
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  films, and I'll go clear back to you know, my childhood and the
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  superhero films for my childhood and the action hero films for my childhood. I'm
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  going to read the next paragraph on this and then point out some or the
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  next couple of paragraphs, and then point out some things about this. So
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  he says. The study of the top grossing films in twenty nineteen found that
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  may comprised sixty three percent of major characters and females comprise thirty seven percent,
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  And he's doing the numbers thing the whole way through. Males accounted for sixty
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  six percent of speaking characters, while females accounted for thirty four percent. Overall,
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  audiences were almost twice as likely to see male characters as female characters in
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  the top grossing films twenty nineteen, Roles for men and stories about men continued
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  to be the norm. Films focused on female characters with storylines supposedly of interest
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  to women are termed chick flicks, while films focused on male characters with characters
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  and plots telling men's stories are considered to be the norm. So I'm gonna
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  touch on that because I think that that's a massive oversimplification. Who's the target
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  audience for Loki in the MCU films? Who spends the most time online posting
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  pictures of Loki with little stupid hearts all around and over them. Why did
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  they pick an actor who was had the sort of moody, pretty boy attractiveness
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  for that character. Who were they trying to trigger there into you know,
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  rap fits of rapid heartbeat and being being Twitter paid and so on. It
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  definitely wasn't middle aged men. I'm pretty sure it wasn't teenage boys, right.
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  I think maybe we might be touching on the subject of how teenage girls
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  look at guys like maybe just a little bit there and and who absolutely loves
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  Bruce Willis movies both sexes. Why because the story are fun to watch,
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  they're over the top, they're told, well, there's a lot of fun
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  action in the movies, and they are in the end gynocentric. There's always
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  there's always the protect protect the city, protect the girl, protect the you
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  know, take care of the daughter, protect the woman. You know,
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  there's always the love interest. There's always this or that in the types of
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  movies that action heroes are portrayed in, and they always pick somebody. It
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  almost always pick somebody attractive, right, Yeah, every every movie has at
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  least three casting directors or at least you know three people who people who sit
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  behind that table. Well, while everyone auditions at least three and it always
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  contains at least one woman or I guess gay man. He's there to let
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  everyone know, Yeah, this guy's got something about him before and after they've
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  taken off their shirt, and it's I guess they also have someone who can
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  point out which women are better looking than others. But I guess that's more
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  obvious or less obvious to others. Like, even if the audience is intended
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  to be mostly male, there'll be there'll be a woman somewhere in the in
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  the casting directing position, sort of guiding it towards what women want want to
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  see and what women want to see as pretty boys. Guys aren't particularly bothered
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  about pretty boys muscles. Yes, I mean even even young boys, like
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  they want to see characters with big muscles, even if it's cartsoons they always
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  have. It's it's sort of it's this aesthetic appeal. It's easy to draw
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  if nothing else but pretty boys. No, men don't give the slightest chip
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  what your face looks like. You could be could be gnulled up in pieces,
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  and they be like, ah, okay, but but women, yeah,
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  very much. They they want to see the face of whoever he was.
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  He was cost as Lowcy. Yeah, I don't know his name.
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  I just I just know that I see a shipload of memes and you know,
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  ships and and girls telling their daydreams about the character in public, Like,
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  well, I don't I don't want to know that, really, can
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  you not? But that that kind of thing basically, and and of course,
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  like it's it's it's fine people people sharing stuff like that on sites where
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  it's made for that, like their whole spectrums of pages on websites for uh
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  for for fan fiction and shipping is included in that. But I know why
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  people do it on Twitter, right, Like everybody's going to see that,
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  not just the people that get on the site to read that shit, people
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  that get on the site to find out what they're what their cousin posted about,
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  you know, the game last week. Will see your stupid comments about
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  how beautiful Loki is. Like it's it's dumb, right, But girls do
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  that. Teenage girls do that. Women, adult women do that. Women
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  fangirl, adult women fangirl over things in public, and it's it's you know
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  again, it's embarrassing. But my big point here is these movies have to
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  appeal to women. Men's movies, movies that are supposedly just for men that
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  Flood is calling the norm, have to appeal for movies. The difference between
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  those movies and chicks flick chick flicks is that chick flicks do not have to
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  appeal to men. It's not necessary because women we'll watch them with or without
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  a guy. If you're talking the movies, the made for TV movies that
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  get played on Oxygen I think is a women's channel lm T. I don't
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  know what stands for, but it has always has these weird titles next to
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  the label for it, like, uh, you know, my stepsister tried
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  to kill my husband after she had his baby, or some crappy weird like
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  porn soap opera title that women get into and uh and stuff like that.
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  But even more popular movies like Ella Enchanted was a big one with the little
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  girls when my kids were little, those movies don't really have to appeal to
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  men. Moms will take their daughters to see it because they want to see
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  it. Dads will take their daughters to see it because they get nagged into
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  it. And also it's fun to watch your kids watch a movie if you
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  if you've got kids, you know what I mean, especially when they're really
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  into or excited about the movie. But most of the movies that are considered
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  to be the norm, those movies have to appeal to both sexes. And
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  so it's a lie, it's an outright lie to say this is not about
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  this. This somehow debunks m r. A claims and demonstrates that I don't
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  know, the movie industry is dominated by men. If men complain, even
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  on mass that a particular movie doesn't speak to them as men, doesn't represent
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  them as men, those are gonna take them seriously. They're gonna go screw
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  you. You're a man. This is Hollywood. Have you not heard of
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  us? Yeah, our male audience thinks of us. In fact, we
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  can villainize you as we attempt to market this movie. This movie isn't for
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  straight white men. Not only do you not care about the complaints, you
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  relish them, you use them as part of your marketing. So don't be
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  telling me that there's anything andro centric about this. If you even know that
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  word, Michael, he probably does, probably uses it all the time.
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  But I mean you know, honestly, if the norm was movies that are
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  made just for men and the rest was all that was left for women,
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  then when you go back at time and think about the movie Assassins, right,
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  the main male character in that movie would have been played by somebody like
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  Danny Trejo instead of Antonio Benderaz. If you really didn't care about women seeing
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  the movie, you wouldn't have put a heart throb in that role. That's
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  just the way it is. So, he goes on to say, on
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  TV, men are more likely than women to play criminals, but also more
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  likely to be in professional roles, law enforcement roles, in blue collar jobs,
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  while women are more likely to not work or their work is not shown,
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  which you know, honestly, that's kind of bullshit. There are whole
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  TV shows about women in their professions that are just about women in their professions,
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  and where men are shown in their professions. A lot of times it's
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  the main female character's life story is the story of the movie, where her
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  home life is the most important thing, or her social life is the most
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  important thing. Work is just kind of a background, and men are shown
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  in their professional roles in supporting roles. The man is the taxi driver that
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  takes her to the event that she's going to, or he's the janitor at
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  her apartment complex, you know, or he's doing road work and he's in
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  her way. He's the cop that arrests the bad guy that that is has
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  been stalking her throughout the entire movie. You know. It's so it's it's
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  not really honest to talk about this again, in terms of of men.
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  It's not not that the movies suggest that men are professional and criminals and women
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  just sit around at home and do nothing. It's it's that when you have
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  a an unimportant person to portray, that their only importance in the whole setting
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  is how the job they're doing contributes to the main characters experiences. That is
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  often a man. And of course a lot of those roles that you are
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  going to be divided, like they'll portray somebody who works in retail, possibly
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  as a woman, but they'll portray somebody who does a dirty job as a
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  man, because in real life, there are a lot more women who work
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  in retail, and there are a lot more men who do dirty jobs.
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  And you basically want something believable. If it's going to be a background character
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  and not make a big statement. So that's another one that that really sort
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  of stuck in my cross because it's dishonest just as much as it is to
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  talk about men's movies as the default. For Fox's sake, if we had
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  movies made just for men, and well, when we have movies that are
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  made more for men than for women and not to cater to both sexes,
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  you know that they don't put in female eye candy and and you know,
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  female spank bank material basically get you get complaints that the movie was for in
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  cells right, you get it. It's the incell anthem. Look what they
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  said about Joker, right movie, the movie that portrayed a man falling down
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  in a sympathetic light as at least as sympathetic as possible. This is how
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  you create a sociopath. This is how you create a psychopath. Well,
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  everybody hates it, but men women complain that the movie was even made.
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  How dare you cater to men's interests? I remember a shitload of comments about
• 25:38
  the violence and uh, the the you know, over the top testosterone and
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  stuff in three hundred, which I still haven't seen, So I don't know
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  if any of that is even true. But it doesn't matter if the target
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  audience was men. Women don't have any business complaining about it, right,
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  So you have these ridiculous level complaints. Right, this is gender bias because
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  men are portrayed this way and women are portrayed that way. Men are portrayed
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  as disposable, women are portrayed as interesting. And you may have noticed he's
• 26:18
  now resorted to this phrase more likely. In previous paragraphs, there was always
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  a percentage, the sixty six percent more there's two percent less of that.
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  But you got none of that here, have you, Michael? You just
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  got more likely to be in professional roles, law enforcement roles, in blue
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  cord jobs. How much more likely, Michael, sixty six percent more likely?
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  You haven't even got that anymore. He's still not addressing the the way
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  that women made the emotional center the ethical center of the movie, even if
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  there's only one of them in there. All the Allies had up until this
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  point was to throw these numbers at it. And he doesn't even have those
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  numbers anymore, which which makes me wonder, how is how is he how
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  is he measuring this? How professional a role does a role have to be?
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  How prominent in the story does it have to be before he's including it
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  in his statistic of quote unquote More likely, it's we we're falling further and
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  further down the whole of vagaries that mister Flood is presenting. I can't wait
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  to see where he goes next. Yeah, I kind of want to know
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  what his source is for that, because I think it's his butthole. Honestly,
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  it just it's I've seen men and women both portrayed as professionals and both
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  portrayed as criminals. It's just that when women are portrayed as criminals, it's
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  done so in a sympathetic manner, and when men are portrayed as criminal,
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  if it's done at all in the least bit sympathetic, there's criticism that we're
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  encouraging that. Right, It's just I don't know, I guess, I
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  guess My biggest complaint about this is again, you know, it's he has
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  set up a straw man, and then he has thrown feminist complaints about it
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  that don't actually do anything to the straw man. So now we have a
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  bunch of feminist complaints stuck on the straw man. So let's see, we
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  have the next paragraph he says gender biases and fictional dialogue are well documented in
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  media. In film, television, and books, female characters tend to talk
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  less than male characters, talk to each other less than male characters talk to
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  each other, and have a more limited range of things to say this.
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  He has a source for a major analysis of two thousand film screenplays found that
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  across them, sixty percent of dialogue was spoken by men. And it's funny
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  because feminists talk as though that's the Norman real life, and then they complain
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  about it getting portrayed that way in the movies. If they were to admit
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  that women just never shut up because we don't, then they might have a
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  complaint. But the other thing is, you know, they're still talking about
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  numbers, how much people talk and who they're talking to. It doesn't say
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  anything about what they're talking about. You know, what their speeches target audience
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  is what how that portrays the men and so on. And like women's roles
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  in films are not silent, there may be quite a bit of there may
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  be quite a bit of silent action where you see women doing things in films
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  and they're not they're by themselves and they're not talking to anybody because they're by
• 30:18
  themselves. But a lot of times when you see men's speech in television and
• 30:25
  movie roles, it's still background shit. You know, the cop that's that's
• 30:33
  directing traffic says to people, move along, move along, like a cop
• 30:37
  directing traffic would do. And suddenly, well that's a man's line in the
• 30:41
  movie, so what you know, the bad guy has a monologue and he
• 30:48
  says a bunch of stupid shit or mean shit or whatever. Okay, the
• 30:53
  bad guy is supposed to have a monologue. But if women don't get played
• 30:56
  is a bad guy as often don't get portrayed as a bad guys often,
• 31:00
  then they're not going to have the bad guy monologue, are they? You
• 31:04
  know? So women are only allowed to say things that are clever, where
• 31:10
  men are allowed to make mistakes and have flaws and have to correct them and
• 31:15
  have to learn things right. Oh gosh, I figured out. I'm the
• 31:19
  bad guy. I'm the idiot, I'm the asshole. I gotta fix this.
• 31:25
  I did something wrong. How many times do you hear women in a
• 31:29
  movie say I'm sorry versus men, or beg for forgiveness versus men. They
• 31:38
  wouldn't they get complaints from the female audience, which they would take seriously.
• 31:45
  You know, I like, how many times do you see women being ordered
• 31:52
  to go do things that are going to get them killed versus men? So
• 32:00
  yeah, just when you start talking about just the number of speaking, it's
• 32:05
  kind of bullshit. Again, Then he says, anti feminist commentators neglect the
• 32:13
  question of race and racism, but media portrayals of men of color are often
• 32:21
  poor. Example, the frequent portrayal of African American men as dangerous thugs.
• 32:28
  Now, who does that? I mean, men are often portrayed as dangerous
• 32:36
  thugs. That's your phrase is exactly two words too long there, Michael.
• 32:40
  I mean, yes, there are African American men portrayed as dangerous thugs in
• 32:46
  movies. But there are I reckon, they're around thirteen percent of them,
• 32:52
  Michael, They're around thirty thirteen percent of the of the men portrayed as dangerous
• 32:59
  thugs and movies. And that's generous do they used to do in the eighties,
• 33:04
  when when this wasn't a problem anymore. But nowadays you have this issue
• 33:09
  of no matter how many or how few black men you put in your movie,
• 33:15
  there's this brilliant meme of I would have to describe it for you,
• 33:21
  is it's a combination of of one guy holding a gun up to another guy,
• 33:25
  and if and if the one guy, if the one guy is black,
• 33:29
  or if the other guy is black, or they're both black, or
• 33:30
  they're both white. No matter what combination there is, there is a woke
• 33:35
  complaint for it. If it's if it's a black guy shooting a white guy,
• 33:38
  it's like, this is racist. You're you're portraying black guys as thugs.
• 33:43
  If it's a white guy pointing a gunt, pointing a gun a black
• 33:45
  guys like they you are obviously glorifying violence against black people. If it's if
• 33:52
  it's two if if they're they're both both black guys, it's you're portraying black
• 33:57
  people as as being criminal to each other. And if it's just a white
• 34:01
  guy shooting a white guy, is this is racist? There are no black
• 34:05
  guys in this movie, So at this point in history, it's it's very
• 34:10
  rare to present an African American man as a dangerous thug because it would be
• 34:15
  called racist, which is why they're all white men at this point. And
• 34:21
  not just in movies, but in the television and especially in commercials. Yeah,
• 34:27
  you have to travel deep in into the annals of the Internet to even
• 34:34
  find anyone who will portray black men as thugs, let alone women of any
• 34:39
  kind as thugs. It's just does that occur to you, Michael, when
• 34:45
  you talk about how women are portraded movies and you're making the point about how
• 34:50
  you shouldn't portray certain demographics as dangerous thugs? When are women ever portrayed as
• 34:57
  dangerous thugs? It's not often, is it? And is that because women
• 35:04
  in real in real life, in reality are not very often dangerous thugs.
• 35:07
  Well, they're not very often blue collar workers, Michael, They're not.
• 35:13
  They're not very often you know, professional roles or law enforcement roles as you
• 35:17
  call them, or whatever whatever it is that do you're referring to as those
• 35:22
  things? So does do really do does entertainment? Does fiction have to represent
• 35:30
  the the reality of where you where you're more or less likely to find men
• 35:35
  or women? Or doesn't it? He's he asked, as though he's expecting
• 35:40
  a straight answer. You don't get straight answers from the likes of Michael Third,
• 35:45
  you get another paragraph of the bullshit he was he was taught to spew
• 35:51
  in university and look forward to it. Well, and I kind of wonder
• 35:58
  who who creates movie these for instance, who creates the stories about say,
• 36:05
  black gangs and and the gangs in in minority neighborhoods, the fighting between them
• 36:14
  about historical figures in in you know, those storylines and so on. Uh,
• 36:22
  you know, you usually see at least the writing has been done by
• 36:30
  by people who have lived experience with that, or the directing is done by
• 36:37
  by people who have lived experience of that. It's glorified by people who have
• 36:42
  lived experience of that, or people people of color. Right, you you
• 36:46
  don't see necessarily everybody involved in the administration of that being white. So in
• 36:57
  there, and who's their target audience? Is their target audience? Uh?
• 37:01
  You know white men speaking. The target audience that they expect to get all
• 37:09
  their money from is men. But the tiger audience that they give a shit
• 37:15
  about is women, mostly white, mostly white women because they do most of
• 37:19
  the complaining. Yeah, but but the target audience is mostly women. And
• 37:24
  again they're doing the same thing. They're glorifying the alpha male role, right,
• 37:29
  They're glorifying the toughest guy, the strongest guy, the guy that has
• 37:34
  the best capability providing, dominates the other guys and so on, And there's
• 37:37
  always some some level of gin of centrism even in those movies, right,
• 37:42
  So, and there's a lot of those movies that are also made to draw
• 37:46
  attention to types of conflict and lived experiences in neighborhoods that have been hit by
• 37:54
  by poverty and fatherlessness and uh, the the workings of certain government agencies that
• 38:05
  may have sort of spiked the drug use in the United States a little bit,
• 38:13
  you know, things like that. But but yeah, we talk about
• 38:16
  it in terms of racism. Why because if you acknowledge that these things happen
• 38:23
  in real life, and there are stories to tell about them and questions to
• 38:27
  ask about them and considerations to have about them, Like, you know,
• 38:31
  what what can we do for the people who this is happening to, what
• 38:37
  can we do to raise them up, help them not have this type of
• 38:44
  experience as their life experience. Like, you can't have those discussions without having
• 38:52
  some sort of popular media address this. And it's historically that is what we
• 38:58
  have done. We've written about as a as a race, as a species,
• 39:05
  we've written about our greatest pains, our ugliest sides, our biggest fears
• 39:13
  and horrors about the real world and about ourselves, what we do to each
• 39:17
  other as human beings. We've written about war and death and terrible weather and
• 39:24
  you know, horrible creatures and human against nature and everything. But of all
• 39:32
  things, if these conflicts are experienced by minorities, suddenly you can't talk about
• 39:40
  them. Well, I think that's kind of racist if you ask me.
• 39:46
  And we just got to leave them there in their a little hole and not
• 39:50
  let them get out by you know, maybe examining the issues that have them
• 39:54
  stuck there. Right, you know, none of the people that have gotten
• 40:00
  out or never ended up in that little hole can reach in and pull them
• 40:06
  up either, because that's that's apparently racist, even if it's black people helping
• 40:13
  black people, thanks Michael. In music videos, this is this is one
• 40:22
  that's really gonna In musicals, when women appear, typically their role is as
• 40:28
  sexual objects. So I gotta say this, No one does that more than
• 40:36
  women, you know, No, No male videos portraying women are as blatant
• 40:47
  and over the top and ridiculously in your face sexual as female rappers videos.
• 40:59
  Right, None of them are as blatantly in your face order, ordering you
• 41:05
  to be guynescentric, ordering you to look at a woman as a sex object
• 41:13
  as modern pop country music videos. Right, Madonna made her whole career about
• 41:25
  look at my tits, Britney Spears, her whole career was about being seductive
• 41:36
  in her music. And yet this, this complaint is made as if it's
• 41:45
  men's fault in music videos. Literally, everyone is presented as a sex object,
• 41:58
  exist guys and bands, women in bands. If you're gonna if you're
• 42:00
  gonna present them aesthetically, then obviously you're going to play up to the fact
• 42:07
  that everyone fancies, you know, musicians, rock stars, pop starlets and
• 42:14
  stuff like that. So they're always going to be shot in a sexy way.
• 42:17
  They're always going to be wearing something trendy, and that's sort of the
• 42:22
  difference. For men. The trend, especially with musicians is not being scantily
• 42:32
  clad. We've talked about this for years. Men are not objectified in the
• 42:37
  same way as women. Women are objectified. If you can even call it
• 42:42
  objectified, I can't stand that word, and it doesn't make any sense.
• 42:45
  But women are very often treated as ornaments and men are very often treated as
• 42:50
  tools. And that's that's why the one is is presented behind leather jackets or
• 42:59
  suit or some kind of uniform that represents what they do, whereas whereas women
• 43:07
  don't have to quite work so hard in that directly just remove clothes rather than
• 43:13
  add them, because it's not necessarily what they do. It's it's it's what
• 43:21
  they are. And looking like something is is that is the distillation of being
• 43:30
  something without doing something. And you know, even women in rock groups are
• 43:37
  sort of presented in in that in that similar way. But as you say,
• 43:44
  is is more the case in in in rap music, and even even
• 43:49
  in rap music sort of men when when they have the figure for it very
• 43:53
  much, often are sort of topless and covered in bling. Yeah, or
• 43:59
  they're they're in other pants that are so tight you can tell their religion exactly.
• 44:02
  And and and this is and this is just a reflection of how music
• 44:07
  has become a visual medium ever since, ever since video killed the radio star.
• 44:15
  In fact, so yeah, there's nothing new about using sex to sell
• 44:22
  music or using sexually charged visuals to sell music. It's it's just that there
• 44:30
  are there are different tried and tested ways of making men sexy and making women
• 44:37
  sexy. Like I say, with men, it's it's the uniform, and
• 44:43
  with women it's just them looking like women. Yeah, yep. And I
• 44:51
  you know something else I noticed when it comes to videos that have a lot
• 44:57
  of creativity in the way they're made, you know, not just videos with
• 45:00
  a storyline, but videos that that sort of break ground in the manner of
• 45:07
  presentation, Like videos that that combined for the first time, uh, real
• 45:14
  footage with with cartoon drawing or line drawing around the real footage, doing neat
• 45:20
  little effects and stuff like that. You know, videos that have instead of
• 45:25
  the main characters, you know, being the actual band, videos that have
• 45:32
  cartoon characters representing the band. You know, things like that. It's usually
• 45:37
  men's groups where where there's a lot more creative work done to present the music.
• 45:44
  Women become popular by showing off their bodies. Women become popular by showing
• 45:49
  off themselves as fashion plates. Women become popular singing songs about how bad men
• 45:55
  are. Women women become popular singing songs about what big victims they are and
• 46:02
  how strong they are for being these big victims and not dying because of it.
• 46:12
  Or they have the train wreck anthem right like don't let me get Me,
• 46:20
  and you know, stuff like that. But men men become popular singing
• 46:24
  ballads and songs about how effective and great they are. They become popular singing
• 46:34
  songs about how much they love this or that woman, how important this or
• 46:37
  that woman is to them, songs about the woman herself and her personality and
• 46:45
  her character and what an interesting or weird or strange person she is, and
• 46:51
  if they do sing songs about how rotten this woman is a lot of times
• 46:54
  historically it's had to be disguised, like a lot of people think, she's
• 47:01
  always a woman is a flattering song. It's not very much not, you
• 47:08
  know, it's it's intended to it's not necessarily intended to be unflattering, but
• 47:17
  it's intended to show that you can love a woman with flaws. Right,
• 47:23
  So you know how it comes across is it doesn't matter what a woman does
• 47:29
  ever, Right, She essentially has no agency because she's a woman. She
• 47:35
  could literally cut my balls off in my sleep, But she's always a woman
• 47:37
  to me. That might as well have been a verse in that song.
• 47:40
  Yeah, yeah, I mean the the line that really always got me was
• 47:46
  She'll carelessly cut you and laugh while you're bleeding. And I'm like, who
• 47:50
  does that women. So yeah, it's just again. He makes this argument
• 48:00
  as though it means something and then that's it. He doesn't actually apply it
• 48:10
  to anything. And men have to work harder to be popular in music than
• 48:19
  women do. It's just a flat out thing, you like, women have
• 48:22
  to work hard at being sex objects. Men have to work hard at every
• 48:28
  aspect of what they do. And there's a lot of a lot more male
• 48:32
  artists that I know of that have written their own music as opposed to female
• 48:38
  artists. Especially in pop music, they either remake other people's stuff, and
• 48:46
  that's even in metal. They either remake other people's stuff or they play stuff
• 48:52
  that somebody else wrote for them. Now that's not universal, like they're There
• 49:00
  are women that wrote their own stuff and or female bands that wrote their own
• 49:04
  stuff. But it's just again, it's a more masculine thing to have to
• 49:12
  do all of the work instead of just part of it. In advertising,
• 49:19
  he says there have been positive shifts over time in advertising portrayals of women's roles.
• 49:27
  However, many still show men as leaders and protectors and women in roles
• 49:30
  dependent on men, and sexual objectification of women in advertising has worsened, and
• 49:38
  he cites Anderson for this obviously he's only talking about beer ads. I can't
• 49:45
  think of. If you watch daytime television, women are the target audience for
• 49:51
  the ads. It is flat out all always for women. In fact,
• 49:55
  you know, my favorite example of this is game shows are often just half
• 50:02
  hour long ads with more ads in between. And the best example of that
• 50:06
  is The Price is Right. The Price Is Right is literally just ads,
• 50:12
  a whole game show full of ads, and the product placement and everything in
• 50:17
  it, the prizes and everything, the way that they're described, it's all
• 50:23
  ads, and it's all designed to get women to want to buy things specifically.
• 50:31
  It's why they're always giving away like sometimes they give away cars, I
• 50:36
  guess, but they're always giving away things that are more of female interests.
• 50:42
  You don't usually see them giving away things like season tickets to some athletic team
• 50:50
  their events or anything like that, right, or a barbecue set. And
• 50:55
  then if you look at primetime TV, they're there are some ads for things
• 51:01
  for men, but they're all still guyinocentric or they appeal to men's guyinocentrism.
• 51:10
  Right, buy this, or and women will love you. Buy this,
• 51:15
  and it'll make you more attractive to women right, Buy this and it'll give
• 51:19
  you an excuse to go where the women are, you know. Not Buy
• 51:23
  this and it'll make you comfortable. Buy this and you'll be healthier. Like
• 51:30
  you see a few of those as you start getting into the TV shows and
• 51:38
  movies and media that are intended to appeal to older men, Like men are
• 51:45
  allowed to care about their health after they're sixty five and their hands start hurting
• 51:50
  too much for them to be able to handle the lawnmower, the push lawnmower,
• 51:54
  right, But when they're thirty and they're watching I don't know whatever the
• 52:01
  equivalent is now of friends. I frequently sit with someone who flips channels a
• 52:07
  lot, so I don't actually watch the shows, but I see a lot
• 52:09
  of ads. It's it's all stuff that appeals to again, men's kuynes centrism,
• 52:16
  not men's interest in themselves unless they're you know, unless you're talking about
• 52:23
  little bits here and there of entertainment. This this game is going to be
• 52:28
  on this channel at this time, and you probably want to watch it,
• 52:30
  you know, or or you you get tickets to this this thing that you
• 52:36
  want to go to. But it's almost always about dating, life insurance to
• 52:44
  protect your family in case something happens to you. You know, Uh,
• 52:50
  car insurance even appeals to you know, oh look this this this guy loves
• 52:55
  his mother. Isn't that sweet? Buy our car insurance? Not not really
• 53:07
  not really very androcentric there, But yeah, we hear this about positive portrayals
• 53:15
  of women's roles. Women are always the smart wife in commercials to the husband
• 53:21
  that makes stupid mistakes about housekeeping, doesn't know any better than to put the
• 53:24
  wrong thing in the washing machine. Yeah, and here's and yet here's Michael
• 53:29
  Flood saying adverts still show men as leaders and protectors and women in roles dependent
• 53:36
  on men, like in what world Flood? Every every advert shows shows men
• 53:42
  as incompetent, bumbling buffoons who can't do anything until until the women in their
• 53:49
  life saw everything out using the products being advertised. Now, this this used
• 53:55
  to be a tactic that went both ways. Back in the six ses.
• 54:00
  You could have an advert for a car so use a friendly that even a
• 54:05
  woman can use it. Then you have another one saying an oven so friendly
• 54:07
  even a man could use it. And there were both playoff sort of the
• 54:12
  stereotypes that each other have. Because there are all there are a lot of
• 54:15
  men and women in relations to get in relationships together, and some things they
• 54:20
  understand, some things don't. So they try to appeal to one sex by
• 54:23
  saying something cheeky about the other sex. But half of that has disappeared.
• 54:30
  Now you can't advertise a product by saying it's so simple only a woman could
• 54:35
  use it, even a woman could use it. Sorry, that would that
• 54:39
  that that would never make it off the the the sketching table, or you're
• 54:46
  putting that. But and what's left is nothing but adverts portraying men as is
• 54:55
  useless idiots are who are dependent on on on the sly and street wise women's
• 55:01
  ways of knowing or whatever. Yes, I guess it will show them in
• 55:08
  in a domestically protector role, such as father. It's like the Homer Simpson
• 55:15
  thing. It's like the Simpsons. It's like the dynamic of any couple in
• 55:20
  a sitcom in the last fifty years or ever. Frankly, the man is
• 55:25
  only in a role as a leader and protector in so far as he goes
• 55:28
  to work in some shitty job that he doesn't like, and then he and
• 55:32
  and he comes home and trips over himself until until the woman in his life
• 55:39
  saves him from shit. I sitcoms have attempted to progress further than this by
• 55:45
  just being mental in every way, But adverts are still I can't help if
• 55:53
  they're ahead of the game or behind the game, but they're further along the
• 55:57
  line of guynocentric nonsense. Yeah, of the Homer Simpson sort of set up.
• 56:07
  You got a guy who's entirely dependent on a woman because he's simply too
• 56:12
  stupid to survive. That's just to say that the woman is dependent on the
• 56:19
  man in that relationship is nonsense because once again you're not looking at the the
• 56:24
  emotional narrative, of the ethical narrative behind all these things. You haven't even
• 56:31
  got statistics or percentages to throw at it, and now you're talking the complete
• 56:37
  opposite of reality. Michael, I am going to drink and hopefully Michael Flood
• 56:42
  will not exist when I've put my drink. Good luck. That would be
• 56:46
  interesting, But no. He goes on with similar statements on male dominance in
• 56:58
  voiceovers. Right, male dominance is also visible in TV commercials, which is
• 57:01
  a weird way of wording things in my opinion, and his evidence for this
• 57:08
  is that thirty two percent of women's roles, but only one percent of men's
• 57:13
  are his homemakers. Most homemakers even today are women, and the reason for
• 57:19
  that is a woman never gets treated like a deadbeat for not having a job.
• 57:25
  Right if she has a kid, then's it's reasonable to society that she
• 57:32
  might not want to have a job, that she's she's doing the right thing
• 57:37
  by her kid by focusing on the child welfare and blah blah blah. If
• 57:40
  she does have a job, then she's lauded for taking responsibility for part of
• 57:46
  the family's finances. You know, women might criticize each other for those things.
• 57:53
  Women who have jobs will criticize female homemakers because honestly, we know that
• 58:00
  you can do both, and you can for the most part, as far
• 58:05
  as the chores are considered, Like obviously, engaging with your child is not
• 58:09
  a chore, but doing things like dishes and laundry and vacuuming and all that
• 58:15
  stuff is a thousand times easier with the appliances that men invented to make those
• 58:20
  jobs easier. Then, you know, it was even twenty years ago,
• 58:25
  like when I was a kid, there was no such thing as a vacuum
• 58:29
  cleaner that you just turned on and let it just constantly work in your house
• 58:32
  as needed, or that you could program to come on by itself and go
• 58:37
  all over your house and clean without you having to do anything. A much
• 58:42
  less, you know, one that your cat could ride around on in a
• 58:45
  cute little shark costume. Those didn't exist. I remember when we first got
• 58:52
  a microwave oven. I remember when we first got a dishwasher, because before
• 58:57
  that, I was the dishwasher, you know. I mean, I remember
• 59:00
  when I was the television remote. So all of that stuff, everything that's
• 59:07
  that's been created since then. I remember when the stereo in the living room
• 59:15
  was a piece of furniture large enough that you used it like a coffee table,
• 59:21
  and you had to take stuff off the top of it if you wanted
• 59:22
  to use the record player, and the speakers were bigger than the computer screens
• 59:30
  that I have on my desk. Like all of these things, all of
• 59:35
  these changes that we have. I rarely have to dust in my house because
• 59:42
  I have a device that takes the dust out of the air because I'm allergic
• 59:45
  to dust, you know. And and those things we didn't have that when
• 59:51
  I was when I was ten, right, we didn't have a dishwasher.
• 59:55
  When I was ten, we didn't have our washing machine much more manual than
• 1:00:00
  it is now. And you know, you didn't have to crank it or
• 1:00:02
  anything, but you had to be really careful how you used it. We
• 1:00:07
  didn't have the ability to just throw all the laundry together in there besides the
• 1:00:12
  towels and have it not come out looking weird. You know, we certainly
• 1:00:16
  didn't have a lot of stuff that like when the phrase permanent press came about,
• 1:00:22
  and you didn't have to iron so many clothes. There are a lot
• 1:00:27
  of things that my mom had to do when I was a kid that I've
• 1:00:31
  never had to do in my adult life. I own almost nothing that needs
• 1:00:37
  iron. I don't even know where our clothes iron is. Actually, I
• 1:00:40
  know we have one somewhere in this apartment, but I have no idea where
• 1:00:45
  it is because I haven't used it in that long. Right. But women
• 1:00:51
  bitch about being you know, overworked in housekeeping and so on, and yet
• 1:01:00
  at most of the people who don't have a job, which is a homemaker,
• 1:01:06
  doesn't have a job outside the home. Everybody does housework, whether you
• 1:01:12
  are a homemaker or not. Right, But most of the people who that's
• 1:01:16
  the only thing they do are women. So it's not unfair for television programming
• 1:01:24
  to portray it that way. Those those portrayals are going to be downstream of
• 1:01:29
  culture, not the other way around. You cannot change the culture by portray
• 1:01:32
  more men as jobless homemakers. You just you just make people not like those
• 1:01:38
  characters. And in terms of professionals doctors, lawyers, etc. If you
• 1:01:47
  start looking into those professions, depending on what kind of doctor you're talking about,
• 1:01:55
  there's a lot more men that go for that profession than women, you
• 1:01:59
  know, unless you're looking at pediatricians, and you almost always see pediatricians portrayed
• 1:02:02
  as women because women dominate that field. So again it's it's not about equaling
• 1:02:12
  equalizing portrayal. It's more, Uh, it's more about portraying things the way
• 1:02:19
  they are in real life. It's kind of silly for them to complain about
• 1:02:23
  that. And the voiceover thing bugs me too, because you know, when
• 1:02:28
  women voice over things, when they want to appeal to your emotions, when
• 1:02:32
  the advertiser wants to appeal to your feelings. It's why all the or at
• 1:02:37
  least most of the ads for things like you know, uh, organizations that
• 1:02:44
  that rescue animals and organizations that are you know, send food to to people
• 1:02:51
  in emergency situations or or in poverty situations and stuff like that. A lot
• 1:02:57
  of those times you'll hear a voiceover that's a one man because they know that
• 1:03:04
  the woman's going to tug at your heart strings just a little bit more than
• 1:03:07
  a man will, you know, if the man can at all. But
• 1:03:14
  going on in video games, he says a major study of video game dialogue
• 1:03:17
  finds that there is half as much dialogue from female characters as from male characters.
• 1:03:25
  When did the point of video games become the dialogue? I mean there
• 1:03:34
  is, I mean there are some games that try to get plot across,
• 1:03:39
  especially now that they can do so many things with games. It's not just
• 1:03:45
  pac Man wondering across screens. You can actually have sort of characters nowadays.
• 1:03:52
  But yeah, there's still characters that you need to step into as the player.
• 1:03:58
  And once again, if you can step into a female role and simply
• 1:04:04
  play it, then you get complaints from from women saying that you're manipulating women's
• 1:04:12
  bodies. Oh god, this is bringing me back. I do this video
• 1:04:15
  game section. We're bringing you back to game agate because because this is exactly
• 1:04:20
  what happened in in in Game again, they were like, there aren't there
• 1:04:25
  aren't enough women in video games, and when there are women, you're objectifying
• 1:04:30
  them by controlling them. And then we go, but most controllable players are
• 1:04:34
  men, precisely because you don't get these complaints when you control a man's body
• 1:04:40
  is perfectly fine. Then they go, well, there are too many men,
• 1:04:44
  so all roads lead to women are being oppressed, and so we should
• 1:04:49
  control the video games industry until we declare that women are no longer oppressed,
• 1:04:55
  which will be never. Yeah, it's just like dialogue is important, right,
• 1:05:01
  and Boda has pointed that out. For story games, dialogue is important.
• 1:05:06
  It's an important contributing factor. But that's the only thing he mentions is
• 1:05:14
  dialogue. He doesn't mention anything else about games. I have to wonder if
• 1:05:18
  it's because there's not really any women's issues in regard to games, because again,
• 1:05:25
  like when you get to the story games, now, he's probably ignoring
• 1:05:30
  games that are not action games, because there's a lot of games for little
• 1:05:33
  girls where all the characters are the main characters are female, and they have
• 1:05:39
  a lot of dialogue. Almost everything in the in the game is preceded and
• 1:05:45
  then followed up by dialogue. And I see people playing those games a lot,
• 1:05:53
  because you know, in my work there's there's a tendency for people to
• 1:06:00
  be more interested in things that they were you know, to be still interested
• 1:06:03
  in things they were interested in as kids, like you know, children's television
• 1:06:09
  shows like Dorothy Explorer or the Muppets or things like that. So yeah,
• 1:06:16
  those games actually do show more femininity and more feminine dialogue. But when you
• 1:06:24
  get into action games and the action hero is male, almost all of the
• 1:06:30
  dialogue is going to include the main character, and so at least half the
• 1:06:39
  dialogue is going to be the main character either talking first or responding to somebody
• 1:06:46
  that talked, and you control that side of it sometimes. But that that
• 1:06:53
  is going to skew the numbers, which you know, in my opinion,
• 1:06:57
  makes it not so much sexist as silly to discuss that at all. And
• 1:07:01
  it still again does not contribute to one way or another how men, whether
• 1:07:08
  the media hates men or not, which isn't really our argument anyway. You
• 1:07:14
  know that it's guynescentric like everything else. Then he goes on to say there
• 1:07:23
  are further gender disparities and stereotypes and newspaper comics and clip art, and then
• 1:07:29
  he doesn't say what they are. He has references to two of his links.
• 1:07:36
  Then, men even dominate media coverage of women's issues. For example,
• 1:07:41
  one study found that on abortion, men were eighty one percent of those quoted,
• 1:07:46
  on birth control, seventy five percent of those quoted, and even on
• 1:07:49
  women's rights, they were fifty two percent of those quoted. I'm assuming by
• 1:07:55
  news organizations and organizations, women were only thirty one percent. In organizations,
• 1:08:00
  we're only seventeen percent. And I don't care. Like media coverage of women's
• 1:08:09
  issues, they're looking for people who are going to say pro feminist things,
• 1:08:15
  or they're looking for people who are going to say things that are going to
• 1:08:18
  work as clickbait, right, so they will either show off how this guy
• 1:08:26
  or that guy supports women and you should too, bye bye by example or
• 1:08:31
  whatever, or they're going to go find somebody like Andrew Tait to uh,
• 1:08:40
  you know, find the most outrageous thing that he said lately and use it
• 1:08:45
  for clickbait. So of course there's gonna be a lot of men in terms
• 1:08:49
  of official statements. This is how we want things to be This is how
• 1:08:54
  uh, this is what these organizations are doing. Now, this is the
• 1:08:57
  issues under discussion and so on. That's when they go talk to women.
• 1:09:01
  They just don't do that as often because they're usually, you know, trying
• 1:09:04
  to clickbait you. But uh so then he says, and this this is
• 1:09:14
  interesting too because he treats the statement in a particular way here. Thus,
• 1:09:19
  women are hardly in the position of threatening the traditional domains of men. They
• 1:09:27
  are the traditional domains of men. Mm hmm. Like everything that men do.
• 1:09:33
  They either do to get women's attention, right, to provide for the
• 1:09:40
  women in their lives, to uh contribute to a society that is ultimately dinocentric,
• 1:09:48
  or to find a way to be comfortable living with those conditions. Right,
• 1:09:56
  So it's always about women. But yeah, women are hardly in the
• 1:10:00
  position of threatening the traditional domains of men. It's interesting that, you know,
• 1:10:06
  they will tell you their goals by telling you what you're afraid of.
• 1:10:14
  Oh, you're afraid we're going to replace you. Oh so you're trying to
• 1:10:16
  replace us. You know, that's basically the way that you should respond to
• 1:10:20
  that. Because you haven't made that argument. Feminists have accused you of that
• 1:10:27
  argument in every aspect of the mass media, he says, they are underrepresented
• 1:10:34
  compared to their actual numbers in the population. More than half the population is
• 1:10:42
  women, it's true, right, But if is more than half of the
• 1:10:45
  medical population, women is more than more than half of the upper echelon of
• 1:10:50
  the medical population. Women are more than half of real life action heroes women
• 1:11:00
  because I don't I don't think that's the case. So why should more than
• 1:11:04
  half of action heroes and movies be women? Would it be normal for women
• 1:11:11
  for men and women to expect to see that in a movie? I mean,
• 1:11:15
  if you're going to do a movie or a video game about war from
• 1:11:21
  pretty much any time in history, are you going to complain that there aren't
• 1:11:26
  any women in Yes, you are, even though the only people drafted into
• 1:11:30
  war ever have been men. So obviously, a war game is going to
• 1:11:33
  involve men, and a conflict game is going to involve men, because men
• 1:11:39
  are whatever the equivalent of drafting is men. Men are expected to play the
• 1:11:45
  role of fighter in not just wars, but any given small conflict. And
• 1:11:53
  yeah, you know, games like Call of Duty and stuff obviously is going
• 1:11:58
  to be mostly men. And you're going to compla that there aren't enough women
• 1:12:00
  in it. But are you going to do a game based on World War
• 1:12:05
  Two with a bunch of women in the army. You could, you could
• 1:12:10
  give it a go, but it's not the complaints from in cells in their
• 1:12:17
  basement, covered in cheetoh, just saying open, but there won't women fighting
• 1:12:21
  in the trenches in the well. No, the problem is you'll you'll get
• 1:12:27
  complaints from feminists saying, there are women being blown to bits in this game,
• 1:12:31
  this is so misogynistic. Well, they would complain because the game portrays
• 1:12:38
  women doing what women actually did in those wars, which is mostly in the
• 1:12:43
  medical field. A lot of nurses were women, right, So if you
• 1:12:47
  portrayed things from the female angle in regard to World War One and World War
• 1:12:54
  Two, they'd be, oh, you're stereotyping women. No worrying history accurately.
• 1:13:01
  Get you know, get used to it. It doesn't change. But
• 1:13:09
  yeah, it does kind of bug me that we're still in the position of
• 1:13:16
  arguing whether or not these portrayals are are anti male like and and it's it's
• 1:13:28
  kind of stupid because again, that's that's not really our argument, right when
• 1:13:31
  you look at how media portrays men. Men can be disposable. Women can't
• 1:13:42
  for the most part, and that and and that. Men can be the
• 1:13:47
  person you don't get upset about losing in movie. Women, Uh, women,
• 1:13:55
  Women really can't be the person that you don't have to care about losing.
• 1:14:00
  Women can't be the person whose death is meaningless to everybody. Women can't
• 1:14:05
  be the person whose death is stupid. Women can't be the person whose death
• 1:14:11
  is celebrated. You know, men can be all those things, right.
• 1:14:17
  That's a very different issue than how many men are portrayed versus how many women.
• 1:14:30
  It's a very different issue than traditional domains too, you know. And
• 1:14:39
  as he looks at how many men are portrayed in professional fields and how active
• 1:14:43
  they are, and how much power and influence they have, you have to
• 1:14:46
  remember power and influence includes inspiration. And how many men are portrayed as doing
• 1:14:54
  everything they do in the movie to save a woman, to provide for a
• 1:15:00
  woman, to impress a woman, to get the girl children's media. He
• 1:15:15
  says, we'll do this one and then we'll we'll stop at in toy commercials
• 1:15:20
  on TV. So this this ought to be interesting because I raised three kids
• 1:15:28
  and of course grew up with a bunch of boys watching boys cartoons and not
• 1:15:33
  getting as excited about the stuff that was target I was the target audience for
• 1:15:40
  children's media. Anti feminist commentators also claimed that the media is mean to boys.
• 1:15:48
  Have you guys ever claimed that, because I don't recall ever saying that's
• 1:15:54
  how That's not how I would word it. I would word it in much
• 1:15:59
  the way I recently have that women are always portrayed as as ethically and morally
• 1:16:04
  superior two men. Ye, the same with girls to boys. And I've
• 1:16:10
  just read head in the article again the evidence debunks this, And what is
• 1:16:15
  this evidence? There are more Maleston females. This is exactly the same thing
• 1:16:20
  you did. But I'm going for a cigarette. I will be back,
• 1:16:25
  so I like, I'm gonna ask why the hell do feminists do this?
• 1:16:30
  Right? When we talk about media for boys versus media for girls, For
• 1:16:33
  instance, there are shows that were for boys that I liked. When when
• 1:16:40
  my son was growing up, right there was a there was a and there
• 1:16:44
  were shows that he liked too. There are a couple of shows that just
• 1:16:46
  portrayed little boys having the experience of being little boys in their family and their
• 1:16:55
  community, their school, experiencing, you know, the kind of conflicts that
• 1:17:00
  little boys have with each other, and the kind of conflicts that little boys
• 1:17:04
  have with little girls, and the conflicts they have with each with themselves over
• 1:17:10
  little girls or over other little boys. Uh. And and they weren't.
• 1:17:15
  They didn't treat being a boy as making the kid the bad guy, right.
• 1:17:24
  They treated being a boy as an experience of learning and developing and growing
• 1:17:30
  and and and enjoying the world around them and things like that. Right,
• 1:17:34
  Those were the educational types of TV shows like you had Arnold, you had
• 1:17:46
  Little Bill, you had I can't remember the name of the There's Little Little
• 1:17:50
  Bear, and there was one with I can't remember the name of the show
• 1:18:00
  that there's a lot of memes from this show, and the characters seem to
• 1:18:06
  be like humanoid animals, and there there's a sister character and a brother character,
• 1:18:15
  and it's it's why can't I remember Arthur Arthur? But yeah, hey,
• 1:18:21
  Arnold was one. Arthur was was one of those shows, and you
• 1:18:26
  you could see portrayals of just kids being kids, right. Rugrats had both
• 1:18:30
  sexes kids being kids, and it was Rugrats was made to entertain grown ups
• 1:18:34
  with how cute and funny little kids are. And then you had the superhero
• 1:18:39
  shows, right what I grew up watching, like the the the you know,
• 1:18:45
  spider Man, Transformers, g I Joe. Not superheroes there, but
• 1:18:50
  still, oh gosh, Vultron, ThunderCats, like all of that stuff,
• 1:19:00
  Masters of the Universe, you know, those were the things that I really
• 1:19:04
  got into. There was Yeah, I heard that Arthur went pretty woke later
• 1:19:09
  on. I don't think we saw that when my son was little, but
• 1:19:14
  I suppose that doesn't surprise me. But yeah, I didn't. I didn't
• 1:19:18
  watch a little lot of the like there was My Little Pony Show when I
• 1:19:23
  was a kid that I don't think I ever watched. I remember other girls
• 1:19:28
  cartoons. There was jem I saw a couple of episodes of that because sometimes
• 1:19:31
  there would be girls over at the house. There were a few other things.
• 1:19:36
  Mostly, though, what we watched was stuff like stuff like the superhero
• 1:19:41
  shows, or we'd watch Scooby Doo. That was probably the most popular with
• 1:19:44
  both sexes growing up, and this idea of a balance or imbalance of male
• 1:19:50
  and female characters like that didn't have anything to do with why we wanted to
• 1:19:54
  watch those shows. We watched the Wacky Races those were playing. They were
• 1:20:00
  cartoons that were made in the seventies and the sixties. Oh yeah, I
• 1:20:01
  hated the care Bears. I don't know why. I just didn't like them.
• 1:20:06
  I wouldn't watch care Bear anything to this day. I don't. I
• 1:20:13
  don't know. Maybe it was because it pandered in some way or another.
• 1:20:17
  And I was allergic to the Strawberry Shortcake toys so well, and Gummy Bears
• 1:20:26
  was made to sell candy for crying out loud. And actually my son watched
• 1:20:33
  Kim Possible, he watched Totally Spies was another one that he watched. So
• 1:20:40
  he watched shows that were targeted toward girls too, And I watched shows that
• 1:20:45
  were targeted toward boys. And I watched well, the Dungeons and Dragons show
• 1:20:50
  cartoon. I liked that when that played, right. I don't know how
• 1:20:57
  many people remember that one, but uh watched a lot of that kind of
• 1:21:00
  thing. And but you know, and there were a lot of different fun
• 1:21:05
  cartoons when I was little and when the kids were little. There's a lot
• 1:21:13
  of stuff that came along after my time that were fun, you know.
• 1:21:17
  Uh, and and in between that, you know, my kids didn't grow
• 1:21:23
  up watching because they weren't little when when those cartoons came out. But I
• 1:21:29
  didn't grow up watching because I wasn't little anymore when those came out. That
• 1:21:32
  are none of them are are I don't know, uh polarized in a way
• 1:21:40
  that he's like, the number of characters doesn't really matter. The types of
• 1:21:45
  characters doesn't really matter. Half the cartoons we watched, the characters were they
• 1:21:50
  didn't look human, right, they're they're weird humanoid things or their their aliens,
• 1:22:03
  robots, you know, stuff like that. And it's only the voice
• 1:22:08
  that gives you any indication of with the male or female. Even then,
• 1:22:12
  a lot of boys are played by female voice actors because because they than to
• 1:22:17
  be good at the ices. A lot of cartoons when I was a kid
• 1:22:21
  were anthropomorphic animals, you know, And a lot of cartoons when I was
• 1:22:29
  a kid were made to appeal to adults, like cartoons that they played Saturday
• 1:22:35
  morning cartoons, because we didn't have cartoons all day either. That's that's when
• 1:22:40
  by the time my kids were little, uh, we're old enough to sit
• 1:22:44
  and watch TV. You had Cartoon Network. When I was a kid,
• 1:22:48
  cartoons were from like five or six in the morning. On Saturday morning,
• 1:22:57
  however, early you got up until maybe about noon and then you went outside
• 1:23:06
  right and after school there would be a few cartoons. There would be an
• 1:23:11
  after school special movie that was usually preachy. There was a there was a
• 1:23:18
  TV show where they would read from a book and there would you would see
• 1:23:23
  an artist drawing pictures themed based on the the thing that they were reading.
• 1:23:30
  And uh, there were books that I got because of that show. I
• 1:23:33
  think it was called Picture Pages or something like that. But any any case,
• 1:23:41
  well I know that was a show anyway, but yeah, none of
• 1:23:45
  that was geared toward boys or girls. It was geared toward getting getting kids
• 1:23:50
  to uh change their behavior, getting kids to read, getting kids to buy
• 1:23:56
  certain toys, getting kids to buy certain candy like the Gummy Bears, and
• 1:24:02
  it's It was all marketing. And even today you look at kids cartoons,
• 1:24:09
  there will be kids toys marketed around those kids clothing, shoes, t shirts,
• 1:24:15
  hoodies, jewelry, you know, video games marketed around it. Most
• 1:24:23
  kids programming is made to market things, other things to kids and other things
• 1:24:32
  to parents. You know, a lot of kids TV show characters, and
• 1:24:39
  in particular cartoon characters are featured in kids, educational video games and stuff that
• 1:24:45
  you can get. So it's all of this stuff that he's saying about this
• 1:24:51
  many boys or this many girls, male characters versus female characters. Gender content.
• 1:24:58
  What is he calling gender content? Anything can be gender, gender can
• 1:25:06
  be anything. That's That's what's so insidious about the word. It's it's not
• 1:25:13
  it was never even supposed to be a word that indicates biological sex. The
• 1:25:17
  word gender is related to the word genre. It just means type. It
• 1:25:24
  just means category, you know. So I people are looking deeply into what
• 1:25:30
  gender means and there's and there's no need because it doesn't. It doesn't have
• 1:25:34
  any deeper meaning. It has possibly the shallowest meaning of any word in the
• 1:25:40
  English language. Yeah, because because it because it can mean anything. By
• 1:25:44
  by design it means anything, and and in practice it means even more anything.
• 1:25:51
  It's what we say it is and what we say and what we say
• 1:25:55
  goes. I Actually I find these arguments that he's making here kind of pathetic
• 1:26:00
  because he's really like, he'll say a phrase, he'll talk about gender stereotypes,
• 1:26:08
  but then at the same time, when you look at cartoons, they're
• 1:26:14
  over the top they're intended to be over the top when you look at cartoons,
• 1:26:19
  they're intended to appeal to kid's sense of you know, the world around
• 1:26:26
  them, and then to sort of break it and make them laugh or make
• 1:26:30
  them, you know, just dry out emotions that will get them to want
• 1:26:36
  to continue to watch the show, make them interested. And I don't know,
• 1:26:42
  I they it bugs feminists that you portray male characters as having interests that
• 1:26:49
  are typically male interests and female characters is having interests that are typically female interests.
• 1:26:56
  But they reflect the reality that the kids live in. And if you
• 1:27:00
  made the cartoons completely detached from reality, not just in terms of like,
• 1:27:08
  well, you know, cartoon physics don't match with real physics, but totally
• 1:27:14
  and completely devoid of any touch with to reality at all, kids wouldn't watch
• 1:27:21
  them. They would be disturbed by them, right, It would be like
• 1:27:27
  giving them something psychedelic to watch. They would they might be upset, they
• 1:27:30
  might be they might find it fascinating one or two times, but the rest
• 1:27:34
  of the time they wouldn't necessarily find it entertaining at all, especially if there's
• 1:27:39
  no storyline, and you really can't have a storyline that has no touch with
• 1:27:43
  reality because it ceases to be interesting to people. They don't have a way
• 1:27:47
  of connecting with it if there's no touch to reality at all there. And
• 1:27:55
  you know, in terms of the gender content, like I I I object
• 1:28:00
  to that terminology just on its face, where where they're saying attractiveness is emphasized
• 1:28:12
  more for female characters. Again, that's pulled right out of real life,
• 1:28:16
  and it's a it's emphasized more for female characters than male characters because it's something
• 1:28:23
  that female viewers are more likely to identify with. Where it says intelligence for
• 1:28:30
  male characters. I think he's probably talking about problem solving, which women often
• 1:28:35
  relegate to men, you know, and a female characters being more likely than
• 1:28:44
  male to be shown in secondary roles such as helpers. I kind of find
• 1:28:48
  that to be bullshit as well, because there are cartoons that have no male
• 1:28:54
  characters, so that's how do you put the female characters in a secondary role
• 1:29:00
  there? So I think he's probably gonna do this. You know. The
• 1:29:11
  only thing he said about children's books is the same thing, twice as many
• 1:29:15
  male as female main characters. Female main characters are more likely to be portrayed
• 1:29:19
  inside the home without paid occupation, blah blah blah. Most kids books when
• 1:29:26
  I was reading to my kids when they were growing up. Most little kids
• 1:29:30
  books, again, you know, are are about little kids, little kid
• 1:29:34
  characters. The adult characters are secondary unless you talk about Amelia Badelia. You
• 1:29:41
  know, she's an adult character that's a primary character, but she has paid
• 1:29:46
  compensation or paid occupation. She's working as a housekeeper, but it's still paid.
• 1:29:56
  I don't know like this. This this is his only argument. His
• 1:30:00
  only argument is that that men are portrayed more and men do more work in
• 1:30:08
  these portrayals, which doesn't address the issues at all. But I'm gonna stop
• 1:30:17
  it here because there's only so much Michael Flood that I can take in the
• 1:30:24
  night. And it's because I've lost at least fifty of my will to live.
• 1:30:29
  This is a good place, Yeah, this is this. He has
• 1:30:34
  one play in his playbook. I hope his articles aren't all going to be
• 1:30:39
  like this, because this is gonna be some This is gonna be a slog
• 1:30:43
  through mud the whole time that we're we're reading his stuff. He doesn't have
• 1:30:47
  anything original to say, and is his arguments aren't addressing anything that we've said,
• 1:30:56
  and then they also don't actually debunk the straw man that he constructs every
• 1:31:01
  single time. It's like he's it's like he's half assing it. So well,
• 1:31:11
  let's see, we don't have a lot of super chats on this.
• 1:31:13
  There's not really a whole lot to say in super chats, but we do
• 1:31:15
  have a super chow. Meredith g gave us five dollars and said, HBr
• 1:31:21
  talk two fifty eight. I think I have it as two fifty five.
• 1:31:26
  I may be screwed up the count again, but everybody knows women can't do
• 1:31:32
  math right, just kidding. I I amstrack sometimes because how many weeks I've
• 1:31:40
  missed here and there? Not to eighty five? That's what it says here.
• 1:31:45
  Yeah, oh, I see what she did. Okay, dyslexic fingers
• 1:31:51
  two fifty eight to eighty five. Yeah, you're right, I have two
• 1:31:55
  eighty five and it says it does say two fifty eight right in the not
• 1:32:02
  say it. But yeah, what's this thing? Sometimes when you have a
• 1:32:09
  dyslexic like, one of the things that's the difference between dyslexia and just getting
• 1:32:13
  your numbers mixed up is that once you see it wrong, you see it
• 1:32:16
  wrong. Until uh, you know, you you like separate everything apart.
• 1:32:24
  You can't fix it in your head. You know, like if you see
• 1:32:27
  an optical illusion that has two different ways, you can you know, you
• 1:32:30
  can see it and you can switch back and forth in your head between the
• 1:32:32
  two of them, the old lady and the young lady illusion. For instance,
• 1:32:40
  Yeah, the show title does say two eighty five, okay, yeah,
• 1:32:43
  because you sometimes people just type too quickly, especially when the numbers because
• 1:32:47
  exactly where they are, so they go and two of them are the wrong
• 1:32:49
  way around. It's just yeah, yeah, yeah, yeah. And the
• 1:32:56
  switching numbers when you're typing isn't dyslexia. And you know, having stuff switch
• 1:33:00
  sometimes for a moment when you're reading it isn't. It's when you know you've
• 1:33:05
  seen it wrong and you can't undo the illusion. And and it's funny because
• 1:33:14
  like I can do that with optical illusions, but sometimes when I fuck up
• 1:33:18
  a word, I can't I go back and it. I really have to
• 1:33:24
  work hard to get it, to get my brain to admit that that's not
• 1:33:28
  what I'm seeing. And then and when I look at it, I see
• 1:33:31
  the wrong thing. Until you know, and it takes a lot of effort
• 1:33:38
  to get it to change, like the vision of it to change. Oh,
• 1:33:41
  I see you know it's this so but anyway, uh so, Meredith
• 1:33:45
  gave us honey for the Badgers, and thank you Meredith. And that is
• 1:33:49
  the only super chow we have and no super chats. And I'm gonna look
• 1:33:56
  at rumble really quick and I don't see the comments and make that big.
• 1:34:05
  There we go, Okay, there we go. Uh. Nova fan twenty
• 1:34:10
  one gave us a dollar and said, are are there real women who actually
• 1:34:13
  see other women as heroes and idolize them the same way guys do with male
• 1:34:17
  heroes. I usually only see it in fiction and real life they often tear
• 1:34:20
  each other apart. So one of my greatest heroes of all time as that
• 1:34:30
  that as that is a female hero changed her whole life to and to help
• 1:34:40
  other people. And uh, I can't talk about her a lot basically because
• 1:34:47
  what what she did created an institution for for individuals who are particularly vulnerable that
• 1:34:58
  I don't want feminist harassing. I've mentioned her a few times, mentioned her
• 1:35:03
  before and so on. It doesn't have anything to do specifically with men's rights,
• 1:35:11
  Although victims of this type of vulnerability are more likely to be male than
• 1:35:16
  female. But it's a it's a vulnerability that isn't something that society necessarily inflicts.
• 1:35:26
  It's it's a vulnerability that sometimes just happens to people, and we don't
• 1:35:30
  know how to prevent it in all cases, and so there are people that
• 1:35:35
  need assistance. So so there is that. Another one is my mom,
• 1:35:45
  and I saw her go through things that ordinary people don't usually go through,
• 1:35:49
  in particular women, and when they do, they're usually completely disabled. But
• 1:35:58
  she ran a business, she was a full time homemaker, She did substitute
• 1:36:05
  teaching. She was a member of the city council of the community that I
• 1:36:11
  grew up in. She was an ambassador to our sister city. She was
• 1:36:15
  involved in the Miami are A Canal Society at the county level. She was
• 1:36:20
  involved in her political party very heavily, Like you could not stop her with
• 1:36:28
  a wrecking ball, and she practically got hit by one. She got hit
• 1:36:32
  by a big old buick back in nineteen eighty two when they were made of
• 1:36:39
  steel. So I don't know some women do some women I don't think do.
• 1:36:48
  I think that's the default answer before the days of everyone having their favorite
• 1:36:56
  superhero or their favorite role model who wasn't Jesus. The go to answer was
• 1:37:02
  my mom's my hero, my dad's my hero. It's always wholesome when someone
• 1:37:08
  says that, And occasionally someone does say, yeah, my dad is my
• 1:37:12
  hero, but it's it's less common nowadays because so many fewer people have fathers
• 1:37:19
  in the first place. Yeah, well, you know my dads who are
• 1:37:23
  present in their lives in the first place for whatever reason, And so yeah,
• 1:37:28
  they're still likely to say, well, my favorite female role model is
• 1:37:31
  my mother because she was always there for me, because she was always allowed
• 1:37:35
  to be there for me. But in an increasing number of cases, they
• 1:37:41
  don't have the option of saying my dad is my hero because he was never
• 1:37:45
  allowed to see them, And so yeah, obviously they resort to movies and
• 1:37:49
  video games and maybe even cartoons, anywhere else where they can find a father
• 1:37:55
  figure therein we have the crux of what's wrong with society to you. But
• 1:38:00
  you all know this already. We're just here to remind you of that unfortunate
• 1:38:03
  fact here at on BED Radio. There are not enough fathers in the world.
• 1:38:08
  There are not enough organic role models. Yeah, and the the media,
• 1:38:15
  entertainment industrial complex is is filling that role, often in quite nefarious ways,
• 1:38:23
  and perhaps often in in more wholesome ways. But yeah, than nefarious,
• 1:38:28
  faction is a little bit more power than we would like it to at
• 1:38:33
  this point. And this is why Hollywood is leading the way in in what
• 1:38:38
  you might call gender relations and it's all going horribly wrong, as as I'm
• 1:38:43
  sure you know, stay tuned episode of where we explore this hideous phenomenon in
• 1:38:50
  its in its various iterations. All right. You know, one of the
• 1:38:56
  sad things about the way feminists talk about role model is they they talk about
• 1:39:01
  it like if your male, your role models can only be male, and
• 1:39:06
  if you're female, your role models can only be female. One of my
• 1:39:12
  best role models growing up obviously was my dad, you know, and I've
• 1:39:16
  I've imitated him in ways that probably are unexpected for most people. My dad
• 1:39:24
  was a bit of a workaholic. Like that's a that's that's that's me being
• 1:39:30
  underwhelming there. My dad had four jobs for a lot of the time when
• 1:39:34
  I was growing up. He got his his fingers into all kinds of stuff.
• 1:39:41
  He was anytime something new and interesting came up in in creativity, you
• 1:39:46
  know, he was interested in it, and he made every day take your
• 1:39:51
  daughter to work day, like we didn't do take your daughter to work day.
• 1:39:55
  I learned my dad's profession. I learned teaching, and I learned photography.
• 1:40:01
  Uh you know, I learned journalism from my dad because of that.
• 1:40:06
  Right. I learned portraiture because my mom ran the portrait business. But I
• 1:40:11
  learned those other things because of my dad, right, my and and my
• 1:40:15
  grandfather. I watched him go through some struggles that you would expect if you
• 1:40:20
  if you really knew my grandfather as a person, you would have expected him
• 1:40:27
  to be disabled and institutionalized. But he didn't do that. He provided for
• 1:40:32
  a family, and he was part of a very industry changing initiative in in
• 1:40:43
  medicine with my grandmother. Uh and and he did great things, just unbelievably
• 1:40:47
  great things like and and the whole time he was struggling with mental health conditions
• 1:40:57
  that we didn't know he had until he was in his eighties or nineties.
• 1:41:04
  And if he had received the standard treatment of the day for those conditions in
• 1:41:15
  in his middle age or in his youth, he would have been a zombie
• 1:41:18
  for his whole life. That he just did didn't let that happen to him,
• 1:41:28
  as he had things to do, people to take care of, people
• 1:41:31
  to provide for kids to raise, Like, you know, that's that's a
• 1:41:36
  hell of an accomplishment in my book, And I don't know, it bugs
• 1:41:43
  me that people would think that because I'm female, I couldn't look up to
• 1:41:45
  that, because you know, that was that was my male family member,
• 1:41:50
  right that I couldn't look up to my uncle who was six foot six,
• 1:41:58
  you know, very big guy, like size six x T shirt, you
• 1:42:01
  know, big, and was probably the most gentle person I met up until
• 1:42:06
  the point when I met my husband, who is also one of my heroes.
• 1:42:14
  Like, there are times when things have been done to him that you
• 1:42:18
  would think he'd want to tear somebody's arms off and beat him to death,
• 1:42:23
  you know, with it, and he could and he would never do anything
• 1:42:27
  even remotely violent out of anger. And like his control over his responses to
• 1:42:38
  mistreatment are amazing to me, Like he doesn't even get outraged. And there
• 1:42:46
  are things that I've watched him go through and been there for him the whole
• 1:42:54
  time, and I've wanted to do, you know, crap that you'd regret
• 1:43:02
  later because it was it's just shamefully angry and mean stuff on his behalf,
• 1:43:10
  and he have been talked down from it, you know, by my husband
• 1:43:15
  was like, it's not worth it. So a lot of people I look
• 1:43:19
  up to are male. The people that I look up to that are closest
• 1:43:23
  to me. My brother's toughness and his way of handling conflict when I was
• 1:43:28
  growing up, very different from mine, and you know, very admirable in
• 1:43:32
  comparison to mind, and his compassion for bullies blew my mind when we were
• 1:43:42
  growing up. You know this thing about role models being having to be the
• 1:43:47
  same sex as you. Don't let people do that to you. Look up
• 1:43:53
  to people with good character and recognize what you're looking up to, and uh,
• 1:44:00
  you know what you're what you're looking down on, and don't worry about
• 1:44:08
  what sex they are because it doesn't matter. Right. If somebody does something
• 1:44:13
  admirable, it's admirable. And if somebody is an asshole, don't emulate them.
• 1:44:19
  That's that's pretty simple in my book. I don't know anyway. That's
• 1:44:25
  it for our super chats, our super chows, our rumble rants, and
• 1:44:30
  uh, you know, I haven't even mentioned the other honey badgers I'm just
• 1:44:35
  gonna go off and like a you know, the uh, the Oscar speech
• 1:44:42
  and thank everybody in my life. But the fact is, yeah, my
• 1:44:45
  role models come in both sexes. And I'll bet most of you out there
• 1:44:50
  listening your role models probably come in both sexes too. You know, most
• 1:44:57
  of most of you probably can think of adults that you grew up with,
• 1:45:00
  and you have negative role models and positive role models. You have people that
• 1:45:04
  you're like, Oh, I don't want my life to end up the way
• 1:45:08
  this person's life ended up, and I identify these things in their life as
• 1:45:13
  reasons why their life was so hard. So I'm not going to do those
• 1:45:15
  things. You can think of people like and that's both sexes too, right,
• 1:45:23
  So I don't know, I guess that's that's all I'm gonna say on
• 1:45:30
  it. But role models, Oh, you're a sweetheart that you're one of
• 1:45:35
  mine too. So all honey Badgers are honestly, you know, like people,
• 1:45:44
  people who are just filled with love and compassion, and it's just what
• 1:45:48
  I want to see in the world. That's why we do this, right.
• 1:45:55
  But yeah, and with that, I just I just like your because
• 1:45:58
  you're a sassy Oh that I am so I call myself a professional smartass on
• 1:46:04
  Twitter. It's not because it's not because I'm a comedian. I'm not a
• 1:46:09
  comedian. I'm just good at smarting off to people. SaaS is your middle
• 1:46:13
  name or your last name, because you're glorious, glorious SaaS. That's right,
• 1:46:16
  that's right. So thanks for going through this, slogging through this rancid
• 1:46:24
  mud with me, and thanks to everybody who listened to us slogging through the
• 1:46:29
  rancid mud. Sorry, mister Flood repeats himself so much like he only has
• 1:46:35
  one play in his playbook. Maybe we'll see other plays when we address other
• 1:46:39
  issues. Thanks to everybody who works in the background to make HB talk.
• 1:46:45
  Yes, we'll see thirty and he'll probably cite Anderson as the source for that.
• 1:46:53
  Good Night, all, good night,