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She Cited Fake Custody Stats to Justify Killing Children in a Play · Honey Badger Radio

• 0:00
  Speaker 1: All right, we are live. Hello everybody, and welcome back
• 0:03
  Speaker 1: to Honey Badger Radio. My name is Brian.
• 0:05
  Speaker 2: I'm here with Alison and our special guest, Heal Deer,
• 0:09
  Speaker 2: and we are going to be delving back into Greek
• 0:14
  Speaker 2: mythology and discussing I guess the yes, Medea Medea Yeah, feminist.
• 0:24
  Speaker 1: I think it's media.
• 0:26
  Speaker 2: Medeia is the is the character from all those Tyler
• 0:30
  Speaker 2: Perry movies.
• 0:31
  Speaker 1: Medea is I believe Greek myth Yeah.
• 0:35
  Speaker 3: All right, but the point is that she is a
• 0:37
  Speaker 3: feminist icon of empowerment, feminist.
• 0:43
  Speaker 1: Allison, you're talking, but I can't hear you.
• 0:46
  Speaker 3: Oh goodness, can you hear? Oh?
• 0:50
  Speaker 2: I can hear, Alice, Yes, it's it's they're ceiling wrong
• 0:56
  Speaker 2: with my it's my headphone.
• 0:58
  Speaker 1: Hold on.
• 0:59
  Speaker 3: Okay, well, anyway, if Deo, Derek and HERI probably people
• 1:02
  Speaker 3: in the in the audience can as well what I
• 1:04
  Speaker 3: was gonna say.
• 1:05
  Speaker 2: No, it's it's it's my, it's my, it's my headphones.
• 1:08
  Speaker 2: I gotta I gotta plug in the speakers, got to
• 1:10
  Speaker 2: lower the phone.
• 1:11
  Speaker 3: Okay, okay, So Medea is the the new feminist empowerment icon.
• 1:19
  Speaker 3: Why instead of less strata? And why because well, let's
• 1:24
  Speaker 3: strata just ended a war. That's not good enough. Media
• 1:28
  Speaker 3: basically started one. No, she killed a whole bunch of men.
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  Speaker 3: She killed her brother too too benefit Jason uh of
• 1:38
  Speaker 3: the Argonauts, and then she killed her sons when Jason
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  Speaker 3: pissed her off. So that's that's that's feminism. That's that's
• 1:44
  Speaker 3: what they want to champion as their icon, a woman
• 1:50
  Speaker 3: with a body count because you know quality.
• 1:55
  Speaker 1: Yeah.
• 1:55
  Speaker 4: Anyway, So so if you would like to send us
• 2:05
  Speaker 4: a message at any point throughout the show, you could
• 2:07
  Speaker 4: do so at feedbadger dot com.
• 2:08
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• 2:11
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• 2:14
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• 2:18
  Speaker 3: wisdom through YouTube's comment shredder system. And it also stays
• 2:24
  Speaker 3: in our discord, which you can access at Badger Nation
• 2:27
  Speaker 3: dot online, where you get some additional stuff, some interaction,
• 2:33
  Speaker 3: and you can read more about my frameworks, all the
• 2:35
  Speaker 3: analysis that I do. Periodically, I'll post a post show
• 2:41
  Speaker 3: analysis for a little bit more information, and if you're
• 2:45
  Speaker 3: interested in that, Badger Nation dot online is where you
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• 2:57
  Speaker 3: All right, that's good, I think, unless there's anything more
• 3:01
  Speaker 3: you want me to address.
• 3:02
  Speaker 1: Brian, No, I did get a super chow before. Like, look,
• 3:08
  Speaker 1: in the middle of the night, we got a super chow.
• 3:10
  Speaker 1: I'll read it out really quick or should we wait?
• 3:13
  Speaker 2: Okay, well, it's not super relevant, but if I don't
• 3:16
  Speaker 2: read it at some point during the show, it's just
• 3:19
  Speaker 2: going to get buried under a bunch of other ones.
• 3:21
  Speaker 1: So I feel like we should read it. Oh good grief,
• 3:26
  Speaker 1: it's we don't have to react to it. I'm just
• 3:28
  Speaker 1: gonna read it.
• 3:29
  Speaker 3: You know that react to it?
• 3:31
  Speaker 5: I know?
• 3:32
  Speaker 1: All right.
• 3:33
  Speaker 2: So I got a super chow from shout out to
• 3:36
  Speaker 2: Brian for the call in shows, who gives us twenty
• 3:39
  Speaker 2: dollars and says I cannot tune into the call in
• 3:42
  Speaker 2: shows live because I watched them afterwards. I am sympathetic
• 3:45
  Speaker 2: to you guys that Natty ended up monopolizing the X
• 3:48
  Speaker 2: space from a month ago. Thank you for the superchow.
• 3:51
  Speaker 2: Appreciate it well.
• 3:52
  Speaker 3: I've heard that. So for those of you who are
• 3:55
  Speaker 3: just tuning in, you don't know who Natty is. She's well.
• 3:58
  Speaker 3: She bills herself as an x MRI turned feminist orthodox
• 4:02
  Speaker 3: Christian yeah something, and she she periodically shows up. I mean,
• 4:11
  Speaker 3: we did you. I think we had a couple of
• 4:12
  Speaker 3: shows with her way back when, like ten years ago.
• 4:14
  Speaker 1: She used to be a regular, yeah, or Elizabeth.
• 4:19
  Speaker 3: I didn't talk to her that much a lot, Okay,
• 4:24
  Speaker 3: all right, fair enough, So she used to be a
• 4:26
  Speaker 3: regular and then she decided that she I don't know,
• 4:30
  Speaker 3: reconciled with her mom, and her hatred towards her mom
• 4:33
  Speaker 3: was why she was supporting men's issues or something. It's
• 4:35
  Speaker 3: sometimes difficult to understand her story, but yeah, she comes
• 4:39
  Speaker 3: on X spaces and she monopolizes them, and she insists
• 4:43
  Speaker 3: that everybody can form to her cosmology, which is centered
• 4:48
  Speaker 3: on your opinion of Peter Wright's gynocentrism theory and that
• 4:53
  Speaker 3: and everything has to be hammered into that hole. Although
• 4:56
  Speaker 3: I have heard, I don't know if she's held to this,
• 4:59
  Speaker 3: that she is taking a break from social media, to
• 5:01
  Speaker 3: which I could only say, probably a good idea.
• 5:05
  Speaker 1: Yeah, she had quit X for a while, but I'm
• 5:08
  Speaker 1: sure she'll be back.
• 5:09
  Speaker 3: But yeah, I'm sure I should do that.
• 5:12
  Speaker 2: Yeah, It's like I said, I just you know, they
• 5:14
  Speaker 2: send a super chow. We're supposed to read them, so
• 5:17
  Speaker 2: I read it. I was not actually troubled by any
• 5:21
  Speaker 2: of that.
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  Speaker 1: It is what it is.
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  Speaker 3: Oh and actually say hatred of her mother, that's just
• 5:26
  Speaker 3: like a quick gloss, just conflict with her mother perhaps.
• 5:31
  Speaker 3: So anyway, that's that story let's get into all right, So.
• 5:35
  Speaker 1: Now we're gonna be.
• 5:37
  Speaker 2: Video yb Lyssa Strata when you could be Medea, and
• 5:43
  Speaker 2: she is now going to I think where we left
• 5:45
  Speaker 2: off was where she was going to make the case
• 5:48
  Speaker 2: for Medea, or we were talking about possibly jumping ahead
• 5:51
  Speaker 2: to the the bit where she it's a it's a
• 5:56
  Speaker 2: chapter called Oops, a miss Injury where she's.
• 6:00
  Speaker 3: You know, let's go, let's go, let's go for media,
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  Speaker 3: Let's see what she.
• 6:03
  Speaker 1: Has to let's see what she has save for.
• 6:06
  Speaker 3: Another for later.
• 6:08
  Speaker 1: Yeah, Okaydia.
• 6:11
  Speaker 6: So this whole conversation inside Aristophane's plays about Euripides being
• 6:16
  Speaker 6: a known huge misogynist was very interesting to me because
• 6:21
  Speaker 6: I a kid who read a lot of like classics,
• 6:25
  Speaker 6: loved Euripides because he wrote one of my favorite female characters.
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  Speaker 6: Of course, Medea. You know, she's not a hero, but
• 6:34
  Speaker 6: she is. She is awesome, and it's so okay.
• 6:37
  Speaker 3: Can I just here for a second. There's a bit
• 6:40
  Speaker 3: of an echo, Brian, So what's going on?
• 6:43
  Speaker 2: The lower my volume or turn off my microphone when
• 6:47
  Speaker 2: I'm playing it because my headset doesn't work. That's why
• 6:50
  Speaker 2: I couldn't hear you. So I gotta replace it. Yeah,
• 6:54
  Speaker 2: I'll just just mute.
• 6:56
  Speaker 1: But could I just say though before we continue?
• 6:59
  Speaker 2: So this playwright that she's referring to, that is Aristophanes
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  Speaker 2: is a known, raging, huge misogynist, according to who did
• 7:15
  Speaker 2: like did did? Did ancient Greeks even have a word
• 7:19
  Speaker 2: for that? Like did they call where they're people calling
• 7:22
  Speaker 2: each other misogynists in ancient Greece? I don't think there was.
• 7:28
  Speaker 2: I think that's about but maybe I'm wrong.
• 7:30
  Speaker 1: I don't know. I'm not a historian. Maybe there is
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  Speaker 1: like an early, you know, case.
• 7:35
  Speaker 2: Of misogyny that's like some old, you know, Greek graffiti
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  Speaker 2: on like the side of the temple of in you know,
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  Speaker 2: an Athens or something. But just funny that they just
• 7:47
  Speaker 2: go with, well, this guy was supposedly this way and
• 7:51
  Speaker 2: and we're just supposed to like take that at face value.
• 7:53
  Speaker 2: But okay, anyway, let's play some more.
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  Speaker 6: Do you like a strong female character in you know,
• 8:01
  Speaker 6: Greek and Roman literature, that's not a god? And I
• 8:06
  Speaker 6: love Medea, so I also reread Media and I still
• 8:12
  Speaker 6: loved it. Media was originally part of a trilogy and
• 8:17
  Speaker 6: it was performed altogether, but we only have the one.
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  Speaker 6: We only have Media. It was performed in four point
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  Speaker 6: thirty one BC, so before Aristophanes and before the Peloponnesian War,
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  Speaker 6: And apparently this play didn't do as well with the audience.
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  Speaker 6: Like these these plays were always given in like contest
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  Speaker 6: to select the best drama or whatever, and Euripides didn't
• 8:41
  Speaker 6: do very well. And they think it might be because
• 8:44
  Speaker 6: he took some liberties with the myth of Media. So
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  Speaker 6: Media is not a historical character, She's a mythical character.
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  Speaker 6: And they think he might have changed the ending in
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  Speaker 6: a way that made the audience mad. But I'm just
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  Speaker 6: gonna talk about the text of the play.
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  Speaker 1: Not just pausing there for the banana, because that was
• 9:03
  Speaker 1: kind of a lot.
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  Speaker 3: So okay, okay, So that the reading on Astrophanes was
• 9:13
  Speaker 3: it's it's modern. I don't think they did consider him
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  Speaker 3: a massage. I don't. They didn't have the word back then.
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  Speaker 3: And the reason why he's considered is because he turned
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  Speaker 3: the idea of women running things into a joke.
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  Speaker 1: So he was based.
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  Speaker 2: So what you're saying is Aristophanes was based and we
• 9:36
  Speaker 2: should listen to the wisdom of the elders.
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  Speaker 5: Okay, So the feminist objective objection is treating women's political
• 9:49
  Speaker 5: agency is comic as a comic premise codes is asherently ridiculous,
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  Speaker 5: which is misogyny made foundational to the genre.
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  Speaker 3: I don't know as a woman, and I can sort
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  Speaker 3: of see where he's coming from as as women join
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  Speaker 3: a political party. That's essentially, Uh, it's in the back,
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  Speaker 3: you know, like where does the food come from the grocery.
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  Speaker 3: It's it's in the back, like Jesus, you know. It's
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  Speaker 3: like it's sort of I'm sympathetic. Let's say I'm I'm
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  Speaker 3: I'm misogynist, ad.
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  Speaker 1: Jason endless abundance.
• 10:27
  Speaker 3: Yeah, yeah, we'll just say that we are we're rich,
• 10:30
  Speaker 3: and that we have food, and thus it will be
• 10:33
  Speaker 3: because all we need to do is signal we All
• 10:36
  Speaker 3: we need to do, Bride, all we need to do
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  Speaker 3: is signal our abundance and then there it is.
• 10:41
  Speaker 1: Yeah, yeah, I.
• 10:44
  Speaker 3: Just need to do the right smoke signs, build the
• 10:48
  Speaker 3: right right up bamboo cargo plane on the beach, and
• 10:51
  Speaker 3: then we'll just have an air dropped supplies. Oh man, okay,
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  Speaker 3: he says, uh so, I'm a little sympathetic to the
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  Speaker 3: Aristo France Aristophane's premises. It's Aristophane, yes, you see, thank you.
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  Speaker 3: I can't even talk without them.
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  Speaker 1: Man, well it's Greek.
• 11:08
  Speaker 2: If if it's if it's ancient Greek, there's like you
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  Speaker 2: can tell how you probably should pronounce it, and it
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  Speaker 2: doesn't seem intuitive.
• 11:15
  Speaker 3: But yes, consider how much trouble I have with English.
• 11:19
  Speaker 3: Now you're asking me to deal with ancient Greek. That's
• 11:23
  Speaker 3: not gonna happen for me. Yeah, I've probably even forgotten
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  Speaker 3: it asked Astophanes, right, no, Aristophanes, Aristophanes getting closer.
• 11:33
  Speaker 1: The Aristotle and then just change the.
• 11:36
  Speaker 3: Ending Aristophanes yesh phonyx okay so, and then the all
• 11:43
  Speaker 3: the female roles are played by male actors and masks.
• 11:46
  Speaker 3: So the proto feminist content gets read as men performing
• 11:49
  Speaker 3: female grievance for male entertainment. You know, it's funny because
• 11:53
  Speaker 3: this is feminist talking about probably what was a ancient
• 11:57
  Speaker 3: Greece Benny Hill sketch? And they they're they're struggling with
• 12:01
  Speaker 3: the fact that it's intended to be humorous. And the
• 12:05
  Speaker 3: women in the plays mock themselves. Oh geez, that's truly
• 12:09
  Speaker 3: anti feminist. The woman who mocks herself Kellene's what can
• 12:17
  Speaker 3: we mirror women do that's intelligent or noble? We sit
• 12:20
  Speaker 3: around the house looking pretty, wearing saffron dresses and makeup.
• 12:24
  Speaker 3: Isn't that just mocking that attitude, which I presume would
• 12:27
  Speaker 3: be mostly an elite women's attitude since every other woman
• 12:30
  Speaker 3: of every other class was probably working. The women voicing
• 12:33
  Speaker 3: their own incapacity and also their own like not my problem,
• 12:38
  Speaker 3: if you think about it, like that's basically what she's saying.
• 12:41
  Speaker 3: It's not my problem. War is not my problem. The
• 12:45
  Speaker 3: reluctance to give up sex, the inability to stick to
• 12:48
  Speaker 3: the strike, the gossip about wine and lovers, Myrene, Myrene
• 12:54
  Speaker 3: offering to cut herself in half for the cause and
• 12:56
  Speaker 3: then immediately abandoning the strike when her husband shows up.
• 12:59
  Speaker 3: The plays women are sex obsessed, will, weak willed, easily distracted,
• 13:03
  Speaker 3: and have to be bullied by lysistrata into staying on
• 13:05
  Speaker 3: task the feminist objection. Even when the women are the protagonists,
• 13:09
  Speaker 3: they're presented as comically incapable of the political seriousness the
• 13:13
  Speaker 3: plot requires the plot. The plot of Strata requires comics,
• 13:19
  Speaker 3: or sorry, requires political seriousness. Guys, Like in the previous one,
• 13:26
  Speaker 3: I think I presented the idea that it was again
• 13:29
  Speaker 3: a Benny Hill sketch, an ancient Greece Benny Hill sketch.
• 13:33
  Speaker 3: So can you imagine a two set, two millennia from now,
• 13:37
  Speaker 3: feminists of like the the four thousands looking at a
• 13:41
  Speaker 3: Benny Hill sketch and saying, these women are not politically serious.
• 13:46
  Speaker 3: They're they're running around with their breasts out, chasing a
• 13:50
  Speaker 3: man over a cliff. That is not political seriousness. It's like, yeah,
• 13:54
  Speaker 3: because it's a joke. This was this play was meant
• 13:57
  Speaker 3: to be laughed at. Of course, the characters in it
• 14:00
  Speaker 3: are politically serious. Okay, let's get back to media.
• 14:04
  Speaker 1: All right, let's play some more of the video other
• 14:07
  Speaker 1: versions of the myth.
• 14:08
  Speaker 6: But first, of course, I have to fill you in
• 14:10
  Speaker 6: on the background of Medea, just in case you're not familiar.
• 14:13
  Speaker 6: I don't know, did you have friends when you were
• 14:15
  Speaker 6: twelve years old or something you weren't You weren't reading
• 14:17
  Speaker 6: the Argonautica. So Medea is a princess, but she's also
• 14:22
  Speaker 6: related to the gods. She's the granddaughter of Helios, the
• 14:26
  Speaker 6: sun god, the god representing the sun.
• 14:29
  Speaker 2: Well on in a second, didn't she says? She was
• 14:30
  Speaker 2: like not a god, but she's like related to the gods.
• 14:33
  Speaker 1: I mean that's that sounds like she's got a little
• 14:38
  Speaker 1: bit of cloud.
• 14:39
  Speaker 3: I mean, yeah she does. But also I want to
• 14:43
  Speaker 3: point out the relational move thing she did just there.
• 14:46
  Speaker 3: But she couldn't help despite the fact that she wants
• 14:49
  Speaker 3: to appeal to some kind of universal sisterhood. She just
• 14:52
  Speaker 3: flexed on popular girls. Did you notice that reverse flex.
• 14:59
  Speaker 3: It's like a it's a humble bragging. Oh yeah, they
• 15:03
  Speaker 3: are Argonautica at twelve humble brag flex unlike those popular,
• 15:10
  Speaker 3: vapid popular girls who were having friends.
• 15:13
  Speaker 1: You know.
• 15:14
  Speaker 3: Like she can't help herself. She appeals again, appeals to
• 15:19
  Speaker 3: the universal sisterhood, must flex on the group of women
• 15:23
  Speaker 3: she feels threats threatened by. H Okay, just like, all right, I.
• 15:28
  Speaker 2: Got a I got a super chat Albatross gave us
• 15:32
  Speaker 2: two dollars earlier and said didn't know tell her Perry
• 15:35
  Speaker 2: lived back in ancient Rome. I know he meant say Greece,
• 15:39
  Speaker 2: but I'm just reading what was put in front in
• 15:42
  Speaker 2: front of me. Okay, we got in the vertical chat.
• 15:46
  Speaker 2: We got some Angela Collier fans. Angela Collier is the
• 15:49
  Speaker 2: lady who we're responding to. They're not happy about this.
• 15:53
  Speaker 2: I didn't know that she was so big on YouTube.
• 15:56
  Speaker 2: We haven't even really like gotten that angry with her.
• 15:59
  Speaker 1: We're just sort of like.
• 16:00
  Speaker 3: Oh, you're not gonna be happy with me. Yeah, ladies,
• 16:03
  Speaker 3: you're gonna be quite upset with me. All right, So
• 16:07
  Speaker 3: let's uh a deeal there. You've been quiet? You haven't a?
• 16:11
  Speaker 3: Is it quite hot there in England?
• 16:14
  Speaker 7: No, I'm just seeing if I can beat my best
• 16:18
  Speaker 7: score of about fifteen minutes of not saying anything on
• 16:22
  Speaker 7: these streams you've just prompted me to. Actually I still
• 16:26
  Speaker 7: made it. It's about sixteen minutes. I think I've bested
• 16:28
  Speaker 7: my record of being uninvolved. It's wonderful. I like the
• 16:33
  Speaker 7: kudos of showing up and doing things without having to
• 16:36
  Speaker 7: do things. It's really good for my ego.
• 16:39
  Speaker 3: Yeah, well it's fine. Like I said, me and Brian
• 16:42
  Speaker 3: can fill all the available space. Well, actually I probably
• 16:45
  Speaker 3: should say me. I can fill all the available space. Heck,
• 16:51
  Speaker 3: my comic mispronunciations can fill all the available space until
• 16:55
  Speaker 3: Brian corrects me. So all right, let's let's watch a
• 16:58
  Speaker 3: little bit more. Let's please her fans.
• 17:00
  Speaker 7: Well, I was going to do some well questioning poking.
• 17:06
  Speaker 7: I suppose make of it what you will. Why do
• 17:10
  Speaker 7: feminist women just have to try and reclaim some of
• 17:16
  Speaker 7: the worst people imaginable in history? I mean, I did
• 17:22
  Speaker 7: point out I think it was the last time that
• 17:25
  Speaker 7: if you look historically speaking about how women are more
• 17:30
  Speaker 7: likely to start wars, they're more likely to shame men
• 17:33
  Speaker 7: for not going to war, they're more likely to do
• 17:37
  Speaker 7: all these sorts of things, and that if you basically
• 17:40
  Speaker 7: flopped that on its head, you would get a play
• 17:44
  Speaker 7: like this, which you seem to have found. That's actually
• 17:47
  Speaker 7: the case that this is or was something to not
• 17:50
  Speaker 7: be taken very seriously, which is kind of nice. Why
• 17:54
  Speaker 7: do they still want to try and claim like one
• 17:58
  Speaker 7: of the worst people imagine, like, Okay, yeah, you weren't
• 18:02
  Speaker 7: happy with your husband, did you really need to kill
• 18:04
  Speaker 7: his concubine that he got for political reasons? And his
• 18:09
  Speaker 7: children which were your children? Was really necessary?
• 18:13
  Speaker 3: Well, my Dea does far worse.
• 18:16
  Speaker 7: But that's just for this particular story. This is the
• 18:19
  Speaker 7: bit that she does there. I know she was gles
• 18:21
  Speaker 7: who was it her brother or something? Yeah, so she.
• 18:25
  Speaker 3: Can claim Jason for herself. And then also she kills
• 18:31
  Speaker 3: a king's daughter. I'll have to get the name, just
• 18:35
  Speaker 3: because she wants to get the the throne for Jason.
• 18:44
  Speaker 7: Yes, so yeah, she does kind of go has a
• 18:48
  Speaker 7: few woman moments in the same vein as Lady Macbeth
• 18:52
  Speaker 7: has a few woman moments. What is the obsession with
• 18:56
  Speaker 7: feminist and claiming these people? I mean, even if we
• 18:58
  Speaker 7: just stick with mythology as they've attempted to claim Meducer,
• 19:03
  Speaker 7: you know, the the morphal Gorgan sister that she is. Oh,
• 19:07
  Speaker 7: she's actually a feminist icon because she stands as a
• 19:11
  Speaker 7: representation of female power against the patriarchy. I'm going to
• 19:18
  Speaker 7: perhaps tickle some hidden unlock some memories for some people.
• 19:24
  Speaker 7: You remember a few years ago, there was that statue
• 19:27
  Speaker 7: that was put up where they flipped the characters on
• 19:31
  Speaker 7: that famous other one. So it was Meduca holding the
• 19:33
  Speaker 7: head of Perseus as opposed to Perseus holding the head
• 19:36
  Speaker 7: of Meduca. They did that.
• 19:38
  Speaker 1: They celebrate I remember the inversion of that.
• 19:40
  Speaker 7: Yeah, yeah, they celebrated. They said, oh yeah, you go girl,
• 19:45
  Speaker 7: this this is you know, this is a wonderful thing,
• 19:48
  Speaker 7: the underground serpent of the chaos that is necessary there
• 19:54
  Speaker 7: for our hero the Sun as he travels across the
• 19:57
  Speaker 7: sky and then again under the ground into the darkness
• 20:00
  Speaker 7: that he must conquer. Uh what what if the darkness won? Well,
• 20:04
  Speaker 7: what if wouldn't that be cool? Yeah, that's totally feminist.
• 20:08
  Speaker 7: I mean other ones I can never remember how you
• 20:12
  Speaker 7: pronounce the names like Clitum nestra, clitem nostra, citan nestra
• 20:17
  Speaker 7: whatever it is, Agamemnon's wife as in Battle of Troy, Agamemnon,
• 20:23
  Speaker 7: you know guy who has a little bit of a
• 20:25
  Speaker 7: disagreement with Achilles and then there's a big hollow horse. Yeah,
• 20:29
  Speaker 7: that guy. But he does sort of a similar thing
• 20:32
  Speaker 7: for sort of a similar thing as Jason went off,
• 20:38
  Speaker 7: had this war thing, basically needed another concubine for political reasons,
• 20:45
  Speaker 7: to help settle a few things. I think there was
• 20:47
  Speaker 7: also a bit of just I want that because he could.
• 20:51
  Speaker 7: His family was a little bit not the good guys generally,
• 20:55
  Speaker 7: but then again, when it comes to Greek and Roman mythology,
• 20:58
  Speaker 7: there are very few actually just straight up good guys.
• 21:03
  Speaker 7: And she also just ended up murdering him as well
• 21:08
  Speaker 7: when she found out about this. And I think there's
• 21:12
  Speaker 7: a couple of different versions where it's either her doing
• 21:14
  Speaker 7: it and then a slightly more ironic one where she
• 21:17
  Speaker 7: convinces her lover to murder his concubine that he had
• 21:22
  Speaker 7: to get for political reasons because she just had a
• 21:24
  Speaker 7: bit of a woman moment about it. Why do feminists
• 21:26
  Speaker 7: always need to claim these women?
• 21:32
  Speaker 3: I don't know.
• 21:34
  Speaker 1: It's got something to do with the relational web.
• 21:36
  Speaker 3: Right, Yeah. I honestly, I don't even see why it's
• 21:40
  Speaker 3: a benefit. It's not beneficial. And I don't really want
• 21:45
  Speaker 3: to be around any woman who starts claiming evil or
• 21:48
  Speaker 3: bad behavior as something that we need to protect, because
• 21:52
  Speaker 3: the thing is that these women, they don't just direct
• 21:56
  Speaker 3: this behavior towards men. They directed towards other women. So
• 22:00
  Speaker 3: when a woman starts beaking off about let's reclaim Medea
• 22:04
  Speaker 3: or Kleistrata, I think is what you said, I don't
• 22:07
  Speaker 3: know or Medusa? I'm like, yeah, miss, maybe with that,
• 22:12
  Speaker 3: because I know what's going to happen. She's going to
• 22:15
  Speaker 3: use that, She's going to use that as a way
• 22:17
  Speaker 3: to excuse her own bad behavior towards other people. And
• 22:22
  Speaker 3: that's what this is. They, the women who do this,
• 22:25
  Speaker 3: do not want to be held to a standard of
• 22:27
  Speaker 3: behavior in which they have to account for the benefit
• 22:32
  Speaker 3: to other people, for the the other the well being
• 22:36
  Speaker 3: of other people, right, And it's for me, it's a
• 22:39
  Speaker 3: huge red flag. Why would you want to be around
• 22:42
  Speaker 3: anybody who does that, who has categorically excluded the possibility
• 22:47
  Speaker 3: that she should be held to a standard of behavior
• 22:52
  Speaker 3: related to the well being of others, Because that's what
• 22:55
  Speaker 3: we're talking about here with these women. It's excluding the
• 22:59
  Speaker 3: notion that you you should be held to a moral standard.
• 23:02
  Speaker 3: It's denying the notion you should be held to any
• 23:04
  Speaker 3: kind of moral standard. And in fact, I mean and again, yeah,
• 23:08
  Speaker 3: it is relational web kind of stuff thinking, because it's
• 23:12
  Speaker 3: all about your status is a result of your signaling
• 23:16
  Speaker 3: within the relational web rather than your actions. And of course,
• 23:20
  Speaker 3: in order to be judged by your actions, to take
• 23:23
  Speaker 3: an identity from your actions, you have to have an
• 23:25
  Speaker 3: external standard for those actions, and that includes moral external standards.
• 23:30
  Speaker 3: So it's a relational web that can't really metabolize the
• 23:33
  Speaker 3: idea of taking an identity from your actions, much less
• 23:37
  Speaker 3: a moral identity from your actions, because that whole idea
• 23:41
  Speaker 3: that your actions define them is not something that they
• 23:45
  Speaker 3: really comprehend. That's why a lot of stuff is invisible
• 23:50
  Speaker 3: to them. That's why they think that groceries are from
• 23:54
  Speaker 3: the back the back of the grocery store, because that
• 23:58
  Speaker 3: it's difficult for them to follow the causal chain of
• 24:01
  Speaker 3: actions to where the groceries actually originate from. So it's
• 24:05
  Speaker 3: like this competition between taking identity with relational web signaling,
• 24:11
  Speaker 3: which is a way of thinking categorically. So I am
• 24:14
  Speaker 3: a woman, Therefore this is a relational web signal, and
• 24:21
  Speaker 3: it should have a particular set of properties, and those
• 24:24
  Speaker 3: properties should not relate to how my actions are seen
• 24:27
  Speaker 3: in a greater context. They want to control how women
• 24:32
  Speaker 3: are seen because that gives them benefits. If women are
• 24:37
  Speaker 3: seen are I don't want to say ranked, but evaluated
• 24:42
  Speaker 3: by the content of their character in other words, the
• 24:45
  Speaker 3: actions that they take, then they lose control over how
• 24:49
  Speaker 3: the category woman is seen, and they lose control over
• 24:52
  Speaker 3: those benefits. And I guess the simple way of saying
• 24:57
  Speaker 3: is they're just assholes. They want an asshole free licensed
• 25:00
  Speaker 3: asshole anyway, let's uh, shall we continue?
• 25:06
  Speaker 2: Okay, Yeah, I got a couple of super chats and
• 25:08
  Speaker 2: then we'll continue. So Albertnata retro gives us five dollars
• 25:12
  Speaker 2: Canadian and says, you had me at justify killing kids
• 25:16
  Speaker 2: in a play. Wtf is that about? Psycho nos no limits?
• 25:22
  Speaker 6: Uh.
• 25:22
  Speaker 2: Then he gives another five dollars Canadian thank you and says,
• 25:26
  Speaker 2: let's be glad they do claim these women as heroes.
• 25:28
  Speaker 1: Tel dr that way we know they're the villains.
• 25:32
  Speaker 2: They worship Amy Dunn from Gone Girl for crying out loud.
• 25:36
  Speaker 1: All right, thank you for that.
• 25:37
  Speaker 3: Yeah. Yeah, it's a good uh, it's a good thing
• 25:40
  Speaker 3: like uh that that when they do this, they're signaling
• 25:45
  Speaker 3: who they are, and of course I encourage them to
• 25:48
  Speaker 3: pay attention to those signals.
• 25:52
  Speaker 2: I think it's something that something about like like it being.
• 25:57
  Speaker 2: It's like they they oh fetishize the act of being
• 26:02
  Speaker 2: what they term to be disobedient, So they do things
• 26:07
  Speaker 2: or they say things, or they neglect to do things.
• 26:13
  Speaker 2: You know, maybe they stop bathing, or they let their
• 26:15
  Speaker 2: hair and their armpits grow out or whatever. But all
• 26:18
  Speaker 2: of it is like a statement that they're going to
• 26:20
  Speaker 2: be disobedient, that they that they misbehave, and there's something
• 26:24
  Speaker 2: about that and maybe it's, you know, something from their
• 26:28
  Speaker 2: childhood or whatever.
• 26:29
  Speaker 1: But they're so they're doing this, but they're but they are.
• 26:33
  Speaker 2: It's not that they're like going against all rules in
• 26:39
  Speaker 2: all sense of belonging in order or community. They're going
• 26:43
  Speaker 2: they're they're signaling towards other women who are doing the
• 26:47
  Speaker 2: same thing. So they are sort of like, you know,
• 26:50
  Speaker 2: falling in line in a way. They're just doing it
• 26:52
  Speaker 2: against the norms, you know, because the norms are bad
• 26:55
  Speaker 2: because they're norms for some reason.
• 26:57
  Speaker 3: Yeah, well they're not even norms. Then at this point
• 26:59
  Speaker 3: they're just I don't know, it's become so deconstructed that
• 27:03
  Speaker 3: those are the norms. Okay, but I want to point
• 27:07
  Speaker 3: something out. Is it really about disobeying? Because I can
• 27:11
  Speaker 3: give you a couple examples of women who disobeyed. Let's
• 27:14
  Speaker 3: start with Madam Currie. And this is something that feminists
• 27:18
  Speaker 3: never talk about because I guess it has absolutely no
• 27:21
  Speaker 3: interest to them. She invented or developed or built a
• 27:26
  Speaker 3: mobile X ray. I believe it was on a truck
• 27:30
  Speaker 3: and she defied the policy or the prohibition of women
• 27:36
  Speaker 3: on the front, to go to the front and take
• 27:40
  Speaker 3: X rays of soldiers so that surgeons could find the
• 27:43
  Speaker 3: shrapnel and remove it. And she did that because nobody
• 27:48
  Speaker 3: could work her machine like she could, So if she
• 27:52
  Speaker 3: didn't go to the front, more men would die. And
• 27:56
  Speaker 3: that was why she did it, to save men's lives.
• 27:59
  Speaker 3: And again, she was disobedient. The standing policy was that
• 28:04
  Speaker 3: women were not allowed at the front, or not allowed
• 28:07
  Speaker 3: close to the front, so they would probably have like
• 28:10
  Speaker 3: a clearing medical center that would be staffed by mostly
• 28:14
  Speaker 3: men that was closer to the front, and she would
• 28:16
  Speaker 3: go there and she would use her machine to save
• 28:19
  Speaker 3: men's lives. Feminists don't talk about that kind of disobedience.
• 28:23
  Speaker 3: I wonder why. And again, and she was one percent disobedient.
• 28:30
  Speaker 3: She would do these runs where she was brought. People
• 28:35
  Speaker 3: were trying to stop her, and she did it anyway.
• 28:38
  Speaker 3: And the reason why they didn't want women at the
• 28:40
  Speaker 3: front was obvious. They didn't want women to die. It
• 28:44
  Speaker 3: wasn't this kind of patriarchal oppression. It was literally, we
• 28:49
  Speaker 3: don't want women in a place where it basically hell
• 28:52
  Speaker 3: is cracked open and is seeping through the seams, that's it.
• 28:56
  Speaker 3: But she still went because she was driven to save
• 29:00
  Speaker 3: these men's lives. That's disobedience when feminists never talk about it.
• 29:06
  Speaker 3: Another example of a disobedient woman Lucretia. If you don't
• 29:13
  Speaker 3: know who Lucretia is, I might be mispronouncing the name,
• 29:16
  Speaker 3: because again not really good with Greek and Latin names.
• 29:20
  Speaker 3: Lucretia was a woman from in ancient Greece, so a
• 29:25
  Speaker 3: not great ancient Rome, during the time when they still
• 29:30
  Speaker 3: had kings, and she was raped by the king's nephew okay,
• 29:37
  Speaker 3: and her male relatives came to her and said, we
• 29:43
  Speaker 3: will avenge you, right, will avenge this, this harm to
• 29:48
  Speaker 3: your honor. We'll go to war against the king's family.
• 29:53
  Speaker 3: And she said, no, I don't want women of this
• 30:00
  Speaker 3: the society to think they can live with this dishonor.
• 30:03
  Speaker 3: And then she killed herself and she forced a revolution.
• 30:08
  Speaker 3: She she forced the revolution from a king, a system
• 30:12
  Speaker 3: of kings to a republic in Rome. And why did
• 30:17
  Speaker 3: she force that revolution, Well, first of all, she disobeyed
• 30:20
  Speaker 3: what her male relatives were planning to do. But second
• 30:25
  Speaker 3: of all, by killing herself, she took these kind of
• 30:29
  Speaker 3: these kind of tribal war over women's honor off the table.
• 30:34
  Speaker 3: So now you have to change the system itself to
• 30:37
  Speaker 3: avenge your dead wife, your dead sister, your dead mother,
• 30:42
  Speaker 3: your dead daughter. Because it's done. She's not You can't
• 30:46
  Speaker 3: she her. There's no there's no recompense, there's no way
• 30:52
  Speaker 3: of resolving this. You either have to live with a
• 30:55
  Speaker 3: system that allows this to happen in women to die,
• 30:58
  Speaker 3: or you change it. So it was changed. Another disobedient woman.
• 31:02
  Speaker 3: Feminists never talk about her, and yet she's quite heroic
• 31:06
  Speaker 3: if you think about it. She refused to allow a
• 31:11
  Speaker 3: conflict to consume her society and instead said this needs
• 31:16
  Speaker 3: to change on a fundamental level, on a political level. Right,
• 31:20
  Speaker 3: So this need we need to become a society where
• 31:22
  Speaker 3: men respect each other's families and don't do stuff like this.
• 31:27
  Speaker 3: And that's where the whole condemnation of the king in
• 31:30
  Speaker 3: Rome came from. And again it was the thing that
• 31:34
  Speaker 3: spurred the development of the Republic. Feminists don't talk about
• 31:39
  Speaker 3: that disobedient woman either. I wonder why.
• 31:45
  Speaker 2: Okay, yeah, all right, and I got another super chow
• 31:51
  Speaker 2: or chat rather from Albert Nada retro for two dollars
• 31:55
  Speaker 2: Canadian He says because she saved men's lives. Yeah, well, again,
• 32:01
  Speaker 2: I don't think it necessarily contradicts what I was getting at.
• 32:05
  Speaker 2: It's it's about being.
• 32:10
  Speaker 3: Disobi destroying the system.
• 32:13
  Speaker 2: Yes, to the system itself, because the system is oppressive
• 32:16
  Speaker 2: because it's made by men, and there's a lot of
• 32:19
  Speaker 2: and when when women do this stuff, they're signaling to
• 32:23
  Speaker 2: to find out first of all, if it's safe for
• 32:26
  Speaker 2: them to have these opinions in a way, because you know,
• 32:29
  Speaker 2: if if there are more women doing it, then they'll
• 32:31
  Speaker 2: be like, oh, okay, then the sisterhood wants this. I'm
• 32:34
  Speaker 2: going to do this or I'm going to say this.
• 32:36
  Speaker 2: So it's not really because it is like there's no
• 32:40
  Speaker 2: principle behind it. It's just like, you know, I'm doing
• 32:44
  Speaker 2: this to gain favor with people.
• 32:46
  Speaker 1: That's it. But anyway, let's continue.
• 32:48
  Speaker 3: Actually, can I just get in there. That's probably why
• 32:51
  Speaker 3: they don't talk about Lucretia or Madam these aspects of
• 32:55
  Speaker 3: Madam Currie. It's because that they were principled. They were
• 33:00
  Speaker 3: out of principle. They're acting out of upholding. An external
• 33:04
  Speaker 3: standard for Madam Curriot was the external standard of healing, protecting,
• 33:09
  Speaker 3: and saving and for Lucretia. It was the external standard
• 33:14
  Speaker 3: of maintaining the society that they had constructed. Okay, let's go.
• 33:22
  Speaker 7: I'm going to jump in and say that I would
• 33:25
  Speaker 7: very much enjoy if we could attempt to troll the
• 33:31
  Speaker 7: feminist movement because obviously they seem to want the most horrible,
• 33:36
  Speaker 7: heinous creatures on their side. Now, given the interest in
• 33:40
  Speaker 7: the what was it, the Morning Glory milking maid thing
• 33:43
  Speaker 7: not very long ago, I think we should try to
• 33:48
  Speaker 7: troll the feminist movement into taking the minotaur onto their side.
• 33:52
  Speaker 7: So you know, theseus says, we all know he's the
• 33:54
  Speaker 7: bad guy now because he killed the hot Minu taur BF.
• 34:01
  Speaker 7: I think we should try and do that, just that
• 34:03
  Speaker 7: that creature is just unrelentingly evil. It's honestly, I think
• 34:10
  Speaker 7: you probably could because that thing had to literally be
• 34:13
  Speaker 7: fed babies. That that was part of the.
• 34:17
  Speaker 1: Predator from Yeah, absolutely it was. It was like a
• 34:21
  Speaker 1: cannibalistic well I guess carnivor Carnivor eight men and babies.
• 34:26
  Speaker 7: And stuff, half carniffal, half man half ball, so I
• 34:29
  Speaker 7: guess half carnival, half cannibal. But yeah, like that, that
• 34:33
  Speaker 7: was literally the entire purpose of that that thing was.
• 34:37
  Speaker 7: You know, Crete would send out these ships with the
• 34:39
  Speaker 7: black sails, and everyone would ship themselves because they said,
• 34:42
  Speaker 7: oh god, we now have to give up a large
• 34:45
  Speaker 7: number of babies so that the minotaur can go and
• 34:48
  Speaker 7: eat them. I think we could get them to claim
• 34:53
  Speaker 7: that because hey, minosaurs are hot, and so is murdering babies.
• 34:59
  Speaker 7: Minus all stychon confirmed, let's go.
• 35:03
  Speaker 3: I think it's already been done. I remember watching a
• 35:06
  Speaker 3: summary of that story in which the minuitor was presented
• 35:10
  Speaker 3: as a Oh no it was. It was a guy
• 35:13
  Speaker 3: who was going into the labyrinth of crete, and he
• 35:16
  Speaker 3: presented the story as if the minotaur was the sympathetic party.
• 35:20
  Speaker 3: I'm like, you know, I think this is a little
• 35:22
  Speaker 3: sus But you know, why wouldn't they Why not? Why not?
• 35:28
  Speaker 3: Let's go there? All right, let's sell see a little
• 35:31
  Speaker 3: bit more of the video. Oh are her fans saying anything?
• 35:34
  Speaker 3: I'm curious? Are they quieted up?
• 35:39
  Speaker 1: Let's see. I'll go to the vertical chat.
• 35:42
  Speaker 2: Stephen Kelly Belly said, Uh, Angela Collier is impeccable dog.
• 35:49
  Speaker 2: She is female and correct, very consistent attitude person. These
• 35:53
  Speaker 2: women are not women. You are insane. I don't know
• 35:57
  Speaker 2: what these women are not women means. But Reason twenty
• 36:01
  Speaker 2: four says, y'all seem miserable. Oh I get it now
• 36:06
  Speaker 2: you're all in cells. Loll Well that's it. I'm going
• 36:09
  Speaker 2: to kill myself because I got called an in cell again.
• 36:12
  Speaker 1: That's the last time. I don't buy cruel world.
• 36:17
  Speaker 3: I don't think your wife's like that.
• 36:19
  Speaker 1: Yeah, well do I do?
• 36:21
  Speaker 3: I have to kill myself because I'm an insult Yes?
• 36:24
  Speaker 1: Well the wait, you're a woman, though, so he shouldn't
• 36:26
  Speaker 1: be calling you.
• 36:26
  Speaker 3: That I'm an insingc I'm an InSync, I mean terry single,
• 36:31
  Speaker 3: except I'm not. But okay, let's keep going.
• 36:35
  Speaker 7: Yeah, so does does the husband and the wife of
• 36:38
  Speaker 7: the people on the street? Are they aware of the
• 36:40
  Speaker 7: in cell and insing NAT panelists?
• 36:44
  Speaker 3: Let me see. I'll go and ask Jonathan, Hey, Jonathan,
• 36:49
  Speaker 3: some fan, what's the woman's name? Again?
• 36:52
  Speaker 1: Well, I mean, I don't know for sure that it's
• 36:54
  Speaker 1: a woman. It just seems no reason Reason four.
• 37:03
  Speaker 3: No, somebody is saying that I am involuntary celibate. He
• 37:09
  Speaker 3: just looked at me. What are you talking about? Woman?
• 37:13
  Speaker 5: Oh?
• 37:13
  Speaker 3: Okay, let's keep going.
• 37:15
  Speaker 1: All, let's keep going.
• 37:16
  Speaker 7: I say I am disappointed. All we have got is
• 37:20
  Speaker 7: name calling. Nothing that is said is addressed, of course not.
• 37:25
  Speaker 7: This is just this is just yep. Whenever any feminist
• 37:30
  Speaker 7: says something and you say, I don't think that makes sense. No,
• 37:33
  Speaker 7: you are the bad person, you are the wrong person.
• 37:35
  Speaker 7: I'm not going to address. What you're saying is simply
• 37:37
  Speaker 7: your identity. That is wrong, wonderful, We don't care.
• 37:44
  Speaker 3: Yeah, I'll tell you exactly what that is. I'll tell
• 37:47
  Speaker 3: you exactly what that is. They're just pre judging your
• 37:50
  Speaker 3: right to say anything. And what I mean by that
• 37:53
  Speaker 3: is they're saying you're outside the relational web. Therefore your
• 37:55
  Speaker 3: opinion is meaningless. Nothing about your substantive arguments registers because
• 38:01
  Speaker 3: they've said, you know, we don't have to address you.
• 38:05
  Speaker 3: You're outside the relational web. We have predit categorized you
• 38:09
  Speaker 3: as in the void, so no argument you present could
• 38:16
  Speaker 3: possibly be correct. That's the way they think, guys. They
• 38:21
  Speaker 3: don't understand that arguments exist separate from the people who
• 38:25
  Speaker 3: are advancing them. Like literally, if these people were in charge,
• 38:30
  Speaker 3: they would kill messengers. Like some messenger would be like
• 38:34
  Speaker 3: my queen, the northern bandits are invading, and the queen
• 38:38
  Speaker 3: would be like, off with his head, and then is
• 38:42
  Speaker 3: her advisor would be like, but what are we going
• 38:43
  Speaker 3: to do anything about that? And then she would turn
• 38:45
  Speaker 3: to him and say, off with your head, and that
• 38:48
  Speaker 3: would be her solution to reality. Okay, And this is
• 38:54
  Speaker 3: why I have sympathy for Aristophranes to friends er Arista
• 39:02
  Speaker 3: and his so called misogyny, because if you get an
• 39:07
  Speaker 3: Aristophanes and his so called misogyny, because if you get
• 39:10
  Speaker 3: enough of people who think that way in government, you
• 39:14
  Speaker 3: no longer can respond effectively to the Northern bendits invading. Yeah,
• 39:19
  Speaker 3: that's their solution to everything is just cut the head
• 39:22
  Speaker 3: off the messenger, say he isn't part of the relational web.
• 39:25
  Speaker 3: That solves it. Oh the pipes of the oil rig
• 39:32
  Speaker 3: or the royal platform, they're getting thin. Well, let's just
• 39:36
  Speaker 3: fire the man who said that. That will solve the issue.
• 39:40
  Speaker 3: Good damn? Can you do you understand how that does
• 39:43
  Speaker 3: doesn't work anywhere?
• 39:46
  Speaker 1: Shun the non believers, shine, shine.
• 39:55
  Speaker 8: Shine, Okay, all right, for some reason, I'm not hearing anything.
• 40:11
  Speaker 1: Nope, Oh I may sometimes I have to restart this.
• 40:14
  Speaker 1: I don't know why.
• 40:15
  Speaker 2: Maybe I can try refreshing the page agency, Can you guys,
• 40:20
  Speaker 2: hear it now, Nope, stop sharing it, share it?
• 40:28
  Speaker 3: Oh boy, no, I think I heard briefly your echo
• 40:31
  Speaker 3: from your.
• 40:32
  Speaker 1: Just take a second, relax.
• 40:35
  Speaker 3: Yeah, and in this case, I will use this second
• 40:38
  Speaker 3: to say we're back.
• 40:38
  Speaker 1: You go ahead, do your thing.
• 40:43
  Speaker 3: Okay. If you would like to send us a message,
• 40:46
  Speaker 3: please send us a message at feedbadger dot com slash
• 40:50
  Speaker 3: just the TP it pops up in our community, which
• 40:52
  Speaker 3: you can access at badgination dot online if you're interested.
• 40:56
  Speaker 3: And yeah, and uh, we get the full benefit of
• 41:00
  Speaker 3: whatever funds you send, and you get the benefit of
• 41:02
  Speaker 3: sending your cosmic wisdom, not through YouTube's comment thresher system.
• 41:06
  Speaker 3: So once again that's feedbadger dot com slash just to
• 41:09
  Speaker 3: tip send those comments in. This is funny, guys. We
• 41:12
  Speaker 3: have we have some live ones in the in the
• 41:15
  Speaker 3: vertical chat, some people who are defending my fair lady's honor,
• 41:22
  Speaker 3: even though I don't even think we've roughed her up
• 41:24
  Speaker 3: at all yet, have we? I don't think so?
• 41:29
  Speaker 7: Okay, No, we haven't been in any way unfair about her,
• 41:32
  Speaker 7: apart from the last stream where I told her to
• 41:34
  Speaker 7: return to the kitchen in about three or four different
• 41:36
  Speaker 7: ways in Latin. But that was. That was just me
• 41:39
  Speaker 7: flexing the fact that I know a little bit of
• 41:41
  Speaker 7: Latin and because it was fun.
• 41:44
  Speaker 2: I mean, the only thing that I think that we
• 41:46
  Speaker 2: have done is basically just question the decision to align
• 41:53
  Speaker 2: with this character, which she's going to get into here
• 41:56
  Speaker 2: in a bit. But uh, let me, I got another
• 41:59
  Speaker 2: super chain. So Albernina retro gives us ten dollars Canadian
• 42:02
  Speaker 2: and says, do your respect to spouses. Know that you're
• 42:05
  Speaker 2: involuntarily celibate. You're racist, your sexist, your homophobic, transphobic, xenophobic,
• 42:10
  Speaker 2: and you have TDS because you disagree with me. It's
• 42:12
  Speaker 2: all the same.
• 42:14
  Speaker 1: All right, thank you, let's let's it going.
• 42:17
  Speaker 7: Since has just been invalidated, that is it. You have
• 42:20
  Speaker 7: been socially destroyed, and now you should go away forever.
• 42:24
  Speaker 1: Yeah, disappear.
• 42:27
  Speaker 7: That's fundamentally all of this because you why not?
• 42:34
  Speaker 3: And yet somehow I persist, and I'm also having to
• 42:37
  Speaker 3: deal with my dog.
• 42:38
  Speaker 1: All right, I gonna hit play on this.
• 42:41
  Speaker 6: When you were twelve years old or something, you weren't
• 42:43
  Speaker 6: You weren't reading the argonautica. So Medea is a princess,
• 42:48
  Speaker 6: but she's also related to the gods. She's the granddaughter
• 42:51
  Speaker 6: of Helios, the sun god, the god representing the sun,
• 42:56
  Speaker 6: and she's the daughter of the king of Cultis. Medea
• 43:00
  Speaker 6: first shows up in the myth of Jason, you know,
• 43:02
  Speaker 6: Jason and the Argonauts. It's most famously in the Argonautica
• 43:07
  Speaker 6: and just the most quick recap of all time. Jason
• 43:13
  Speaker 6: was gonna be the king of something, but he didn't.
• 43:16
  Speaker 6: Somebody took over, and so in order to become the king,
• 43:18
  Speaker 6: he asked to go get the Golden Fleece, and to
• 43:21
  Speaker 6: do that, he gets the Argo, and he gets a
• 43:23
  Speaker 6: bunch of heroes, including Heracles. Sometimes the myths differ to
• 43:28
  Speaker 6: like go around and do island adventures, you know those
• 43:31
  Speaker 6: things in Greek mythology that famously take like twenty years
• 43:35
  Speaker 6: and like you meet witches and stuff. Medea is a witch.
• 43:38
  Speaker 6: One thing that happens to Jason. That's important.
• 43:41
  Speaker 1: Oh, that's interesting.
• 43:43
  Speaker 2: So Medea being a witch is probably not an accident
• 43:47
  Speaker 2: in terms of like these people finding that her to
• 43:51
  Speaker 2: be so appealing because they tend to do that, They
• 43:54
  Speaker 2: tend to appeal to find like witches appealing because they
• 43:58
  Speaker 2: see them as you know, outcasts, misunderstood, victims of patriarchy,
• 44:07
  Speaker 2: and these kinds of things.
• 44:08
  Speaker 1: So maybe that's what it is. I could be wrong, but.
• 44:12
  Speaker 3: Yeah, you're not wrong, but they are.
• 44:15
  Speaker 2: Yeah well no, yeah sure, but I'm saying like they
• 44:18
  Speaker 2: like witches. That's what that's what they gravitate to. That's
• 44:21
  Speaker 2: who they relate to, you know, you know how like
• 44:24
  Speaker 2: and like as as an assign the the LGBTQ activists,
• 44:30
  Speaker 2: they they tend to like stand for fictional characters like
• 44:35
  Speaker 2: Penny Wise and the Baba Duke.
• 44:39
  Speaker 1: I don't know why. I mean, I can think of
• 44:42
  Speaker 1: some things, but it just seems like it was just.
• 44:45
  Speaker 2: Going back to what Tilder said before. They like find
• 44:47
  Speaker 2: the worst people and they say, oh, those are our people.
• 44:51
  Speaker 2: They find the word and I just think it's to
• 44:52
  Speaker 2: be like, look at me, I'm against the grain. Look
• 44:55
  Speaker 2: at me, I'm choosing the you know, I'm choosing the bear.
• 44:58
  Speaker 2: I'm going against the grain. I don't know, it's just
• 45:00
  Speaker 2: what I.
• 45:01
  Speaker 1: What I think.
• 45:02
  Speaker 3: But yeah, well again, I think it's like, if I
• 45:06
  Speaker 3: go back to the analysis from a relational web perspective,
• 45:10
  Speaker 3: it's the idea you want to turn the entire world
• 45:12
  Speaker 3: into judging people by their position in the relational web
• 45:17
  Speaker 3: versus their actions. So if they can adopt these horrific
• 45:22
  Speaker 3: these people, these characters that have engaged in horrific actions,
• 45:25
  Speaker 3: they can adopt them and get everybody to see them
• 45:28
  Speaker 3: as the good guy because of the consensus. And that's
• 45:32
  Speaker 3: just another win for the dominance of the relational web over,
• 45:36
  Speaker 3: you know, judging people by the content of their character.
• 45:40
  Speaker 3: But yeah, like the the what I wanted to get
• 45:43
  Speaker 3: into with the witches thing is, first of all, a
• 45:47
  Speaker 3: lot of witches were accused of that by other women.
• 45:52
  Speaker 3: They were initiated the whole the whole condemnation was initiated
• 45:55
  Speaker 3: by other women. And the witch trials that I've actually
• 45:59
  Speaker 3: looked at, like I've actually read the people who were
• 46:02
  Speaker 3: accused of witchcraft generally were really obnoxious. And first of all,
• 46:10
  Speaker 3: it wasn't all women. Almost everywhere, at least thirty percent
• 46:14
  Speaker 3: of witchcraft, the people accused of witchcraft were men, and
• 46:18
  Speaker 3: in Scandinavian countries the majority of the people accused of
• 46:21
  Speaker 3: witchcraft were men. But also a lot of these people
• 46:25
  Speaker 3: apparently like we're just assholes, Like they were doing things
• 46:32
  Speaker 3: to their communities that were disruptive, dangerous, con artistry, they
• 46:37
  Speaker 3: were just like all kinds of stuff that was extremely
• 46:41
  Speaker 3: anti social, and it almost starts to feel like you
• 46:45
  Speaker 3: get an allegation of witchcraft when your neighbors are just
• 46:48
  Speaker 3: shitting tired of you in your nonsense, and it is
• 46:52
  Speaker 3: almost like adultery too. Like the way that these these
• 46:56
  Speaker 3: laws were applied is as long as you were not
• 47:02
  Speaker 3: an intolerable human being who was engaging in all kinds
• 47:07
  Speaker 3: of potentially deadly and or awful mischief and I shouldn't
• 47:11
  Speaker 3: use the word mischief, but just calamities. You were just like, yeah, yeah,
• 47:15
  Speaker 3: if you were like an old lady herbalist who helped
• 47:19
  Speaker 3: people through sickness and childbirth, you were left alone. In fact,
• 47:22
  Speaker 3: you were more likely to be left alone if you
• 47:24
  Speaker 3: were helpful to your community. But if you were like
• 47:28
  Speaker 3: a man or a woman on the outskirts burring voodoo
• 47:31
  Speaker 3: dolls and like travelers just mysteriously disappeared when they went
• 47:37
  Speaker 3: past your stretch of the road, you were more likely
• 47:39
  Speaker 3: to get hit with an accusation of witchcraft. But it
• 47:43
  Speaker 3: wasn't really I'm almost I get the feeling like nobody
• 47:46
  Speaker 3: actually believed in the witchcraft. They just were really tired
• 47:49
  Speaker 3: of these people and what they were up to. And
• 47:53
  Speaker 3: it's the same sort of thing with adultery, like I
• 47:56
  Speaker 3: don't think if you were I don't know, the butcher
• 47:58
  Speaker 3: given it to the U, the tailor's wife, anybody really
• 48:02
  Speaker 3: did anything. But once you started screwing everybody's virgin daughters,
• 48:08
  Speaker 3: they're like, no, you're getting strong up like it was.
• 48:11
  Speaker 3: It was a gradient, I mean, and people seem don't
• 48:15
  Speaker 3: seem to realize that the Middle Ages was actually were
• 48:19
  Speaker 3: pretty pragmatic and sensible about a lot of stuff. And
• 48:23
  Speaker 3: uh so, I'm like looking at these trials and I'm saying,
• 48:27
  Speaker 3: you feminists have no idea what they're talking about, none
• 48:31
  Speaker 3: whatsoever as usual, And also the amount of women killed
• 48:35
  Speaker 3: through witchcraft is completely exaggerated the way the numbers that
• 48:40
  Speaker 3: they throw around are basically a feminist scholar, sorry scholar,
• 48:50
  Speaker 3: excuse me, a feminist, a feminist scholar just pulling things
• 48:58
  Speaker 3: out of her ass, right, And the actual numbers are
• 49:03
  Speaker 3: orders of magnitude lower, and in fact, in many, in
• 49:08
  Speaker 3: many cases, people who were who accused somebody of wishcraft
• 49:13
  Speaker 3: falsely could themselves end up standing trial for a false accusation.
• 49:19
  Speaker 3: So it's a lot more complicated than they're making out.
• 49:22
  Speaker 3: There's a lot more nuance They love that term nuance,
• 49:25
  Speaker 3: but they never apply it against their own findings. Then
• 49:28
  Speaker 3: they're making out. So I just wanted to put that
• 49:31
  Speaker 3: out there. The entire mythology around witches is wrong. I
• 49:36
  Speaker 3: don't know why they didn't. Why why can't Why couldn't
• 49:38
  Speaker 3: feminists be like, we want to be herbalists, you know,
• 49:42
  Speaker 3: why can't we lionize the the elder woman of the
• 49:46
  Speaker 3: of the of the community that help women through childbirth
• 49:49
  Speaker 3: or something, you know, the midwives. How come they're never
• 49:52
  Speaker 3: like that. It's always the witches. Yeah, it's great back
• 49:56
  Speaker 3: to that Luke Kretia versus Madame.
• 49:59
  Speaker 2: Kristing being an herbalist and like helping that's a lot
• 50:02
  Speaker 2: of work.
• 50:04
  Speaker 1: Why do all that work.
• 50:05
  Speaker 2: When you can just be, you know, a lazy slob
• 50:08
  Speaker 2: and then say that you're like doing magic, Like maybe
• 50:12
  Speaker 2: you know, you just do like some fucking bead work.
• 50:15
  Speaker 2: I don't know what witches do. I assume it's not
• 50:17
  Speaker 2: a lot. That's why it's so popular with modern women.
• 50:21
  Speaker 7: Yeah, actually, like, look at what any of them do.
• 50:24
  Speaker 7: They all they like to talk about herbalism a lot,
• 50:28
  Speaker 7: but it's literally just I'm going to go to the
• 50:31
  Speaker 7: shop and buy herbs and like cook with them and
• 50:35
  Speaker 7: make some tea and stuff, and they think that that's
• 50:38
  Speaker 7: what it is. And other than that, it's all just aesthetics.
• 50:41
  Speaker 1: Yeah, it's yeah.
• 50:44
  Speaker 7: They're not actually interested in the medicinal properties of hubs
• 50:48
  Speaker 7: or other plants or flowers. They don't actually know how
• 50:51
  Speaker 7: to use them in any actual useful capacity. I also
• 50:57
  Speaker 7: have to wonder how much this the witch disvied versus
• 51:03
  Speaker 7: you know, actually understanding medicine and herbalism. Herbalism is actually
• 51:07
  Speaker 7: at core just medicine. About fifty percent of all modern
• 51:12
  Speaker 7: medicines are derived from plants. Anyway, there's a lot out there.
• 51:16
  Speaker 7: It's just most people don't know what they are because
• 51:18
  Speaker 7: they have no reason to anymore. But it does make
• 51:22
  Speaker 7: me wonder because so much of this modern witchcraft stuff
• 51:27
  Speaker 7: which descended out of you know, you find a lot
• 51:30
  Speaker 7: of it with like Dianic wicker, and it all descends
• 51:32
  Speaker 7: from the thing that I'm getting kind of tired about
• 51:35
  Speaker 7: talking about every goddamn time I'm here, the left Hegelian
• 51:39
  Speaker 7: spark of the divine that you've got inside you, that
• 51:42
  Speaker 7: gnostic belief that you can alter vibrations by simply manifesting
• 51:47
  Speaker 7: you just will you use that spark of the oversoul
• 51:51
  Speaker 7: that's inside you to be able to do all of
• 51:53
  Speaker 7: these wonderful things, apparently, whether they just gravitate towards witchcraft,
• 51:58
  Speaker 7: because it lets the signal I have the strongest and
• 52:04
  Speaker 7: goodest of intentions. My intentions are so good they can
• 52:08
  Speaker 7: actually change the world. But I don't actually have to
• 52:11
  Speaker 7: learn how to do anything. I don't have to prove
• 52:14
  Speaker 7: Herbalism you have to prove that you can do something.
• 52:18
  Speaker 7: You have to prove. Okay, I have these herbs. I
• 52:20
  Speaker 7: have you know, cooked them, might have distilled the m've
• 52:23
  Speaker 7: boiled the might have soaked them in the alcohol and extract.
• 52:26
  Speaker 7: I've done whatever it is that you do with that.
• 52:28
  Speaker 7: You've made your tinctures of opium, more, your tinctures of
• 52:31
  Speaker 7: Saint John's water, whatever it is that you're going to make.
• 52:35
  Speaker 7: There's some sort of proof in the pudding there, or
• 52:38
  Speaker 7: the eating of the pudding as it would be, whatever
• 52:41
  Speaker 7: you've laced that particular pudding with to have whatever effect
• 52:45
  Speaker 7: it will be on people. There's an objective endpoint to that,
• 52:47
  Speaker 7: whereas just sitting in front of a candle and throwing
• 52:51
  Speaker 7: your energy out into the cosmos altering your vibrations and
• 52:56
  Speaker 7: rippling things across the ether to do whatever the hell
• 53:01
  Speaker 7: it is that you think you're going to do. Attack
• 53:04
  Speaker 7: Donald Trump. For a lot of them, if you read
• 53:06
  Speaker 7: the insane witch reddit people, there was a massive drama
• 53:11
  Speaker 7: on that as well. A bunch of them were like,
• 53:12
  Speaker 7: we're going to do rituals and hext Donald Trump, and
• 53:15
  Speaker 7: then like about a week later they were screeching about
• 53:18
  Speaker 7: how he had divine protection and divine wards and nothing
• 53:22
  Speaker 7: wasn't and nothing was working and in fact their own
• 53:24
  Speaker 7: lives were getting worse when they tried it, which I
• 53:28
  Speaker 7: just thought was hilarious. So maybe your life just sucks anyway,
• 53:34
  Speaker 7: and you're warming everyone except yourself. And now because you've
• 53:37
  Speaker 7: declared that I hate someone else, clearly me thinking about
• 53:42
  Speaker 7: hating that other person is the thing that's making my
• 53:44
  Speaker 7: life was because he's doing it. It's not me, it's him.
• 53:48
  Speaker 7: I had bad thoughts about someone and this is divine
• 53:51
  Speaker 7: retribution or some the weird I don't even know the
• 53:56
  Speaker 7: strange people, but it makes me wonder if that's what
• 53:58
  Speaker 7: it is. It's just they get to, you know, do
• 54:00
  Speaker 7: do their social signaling of my intentions are the best intentions.
• 54:05
  Speaker 3: Uh huh, yeah, yeah, and yeah again, like herbalists is,
• 54:13
  Speaker 3: they're judged by the well being of others if they
• 54:18
  Speaker 3: improve their well being or not. And it's a difficult
• 54:21
  Speaker 3: kind of it's a difficult skill or a difficult profession
• 54:27
  Speaker 3: to pursue because you also have to know where to
• 54:31
  Speaker 3: find the herbs, how to process them, et cetera. And
• 54:34
  Speaker 3: it actually reminded me of before the industrialization of food,
• 54:39
  Speaker 3: women in the US would actually be able to know
• 54:44
  Speaker 3: how to process and exploit local foods, including like local
• 54:50
  Speaker 3: berries and fruits, and that was completely lost and feminism
• 54:55
  Speaker 3: never talked to. The order is ten percent.
• 55:00
  Speaker 7: I have looked this up because I am someone who
• 55:02
  Speaker 7: likes to go out and forage and all this stuff.
• 55:05
  Speaker 7: Of all the plant matter that humans can ingest, we
• 55:10
  Speaker 7: ten percent of it. We have basically lost ninety percent
• 55:14
  Speaker 7: of the potential vegetable fruits and stuff diet because it's
• 55:19
  Speaker 7: usually just stuff that doesn't scale economically well enough to
• 55:22
  Speaker 7: be found, even though you can still use like I
• 55:25
  Speaker 7: grow in my garden skirt in something called skirt. It's
• 55:30
  Speaker 7: a root vegetable. It's a native to Europe. It's basically
• 55:35
  Speaker 7: if you took like parsnips and potatoes and kind of
• 55:39
  Speaker 7: mix them together. The problem is it grows in these
• 55:43
  Speaker 7: like fingery fists, so you have to pull it out,
• 55:47
  Speaker 7: snap bits off of it, and then peel them and
• 55:50
  Speaker 7: then there's sort of like a thin finger left. It's
• 55:53
  Speaker 7: way more effort to process them than it is to
• 55:56
  Speaker 7: rip an entire you know, sort of ovalish potato out
• 56:00
  Speaker 7: of the ground or a singular tap root, long straight
• 56:03
  Speaker 7: carrot and skirit you will you will almost never find
• 56:08
  Speaker 7: it anywhere because the economy of scaling up something like that,
• 56:13
  Speaker 7: which is such a pain in the ass of process,
• 56:15
  Speaker 7: it doesn't work. And so this is why when it
• 56:17
  Speaker 7: comes to modern farming, we've eliminated about ninety percent of
• 56:22
  Speaker 7: all the different you know, plants, fruits, vegetables, herbs, all
• 56:25
  Speaker 7: this stuff that humans can eat. We're down to like
• 56:28
  Speaker 7: ten percent. And this is I think why so many people,
• 56:32
  Speaker 7: I don't know, just kind of struggle a lot in
• 56:34
  Speaker 7: life and they just have no idea how much stuff
• 56:36
  Speaker 7: they can eat. I mean, like other stuff in my garden.
• 56:39
  Speaker 7: I'm going to use my garden a lot for the
• 56:41
  Speaker 7: example here, because I like to farm on small scales.
• 56:44
  Speaker 7: I have out there gallon gull ow. Galon gull is
• 56:50
  Speaker 7: something that I grow in my pond. It's an aquatic plant.
• 56:53
  Speaker 7: It's an aquatic reed. Again, it's another European native. The
• 56:58
  Speaker 7: root of that if you pull out, it's got a
• 57:01
  Speaker 7: starchy root to it. You can just eat it as
• 57:03
  Speaker 7: it is, but it's much better if you dry it
• 57:05
  Speaker 7: out and you powder it and it turns into something
• 57:07
  Speaker 7: that's kind of halfway between ginger and tumeric. How many
• 57:12
  Speaker 7: people know this, basically none of them. But it's another
• 57:16
  Speaker 7: thing that is.
• 57:19
  Speaker 3: It's just last.
• 57:20
  Speaker 7: It's kind of lost and just kind of an annoying
• 57:24
  Speaker 7: thing to process because they put down their roots go
• 57:28
  Speaker 7: down quite deep to form these big starchy nodes, and
• 57:32
  Speaker 7: you've then got to pull them out, and they are
• 57:34
  Speaker 7: a pain in the ass to pull out, like trying
• 57:37
  Speaker 7: to get that stuff out of that bog filter it.
• 57:39
  Speaker 7: It's horrible trying to get it out. It's not really
• 57:42
  Speaker 7: worth it for what it produces. But I tried it
• 57:44
  Speaker 7: anyway because I thought it was fun. Other things again
• 57:48
  Speaker 7: somewhat difficult to scale. Cat tails you can eat, not
• 57:52
  Speaker 7: cattails as in mew cattails, cattails as in things by
• 57:56
  Speaker 7: the sides of ponds. Cattails. You can eat every single
• 57:59
  Speaker 7: part part of that plant. You can eat the flowers,
• 58:02
  Speaker 7: you can eat, the seeds, you can eat, the stalks,
• 58:04
  Speaker 7: you can eat the stems. The stems are a very
• 58:06
  Speaker 7: nice sort of starchy, tuberous thing. The leaves and the
• 58:10
  Speaker 7: stems are a bit tough. It's kind of like crunching
• 58:12
  Speaker 7: through bamboo. It's completely fine. Flowers are a little bit
• 58:16
  Speaker 7: floral tasting, they're not particularly fantastic, and the seeds are
• 58:19
  Speaker 7: just crunchy seeds. But you can eat everything about them.
• 58:22
  Speaker 7: But trying to scale those up to a farmable state
• 58:25
  Speaker 7: is a pain in the ass, so nobody does it.
• 58:28
  Speaker 7: Because you have to have these like long straight rows.
• 58:31
  Speaker 7: You basically would have to grow them in rice paddies.
• 58:34
  Speaker 7: But the problem is because their roots go down deeper again,
• 58:37
  Speaker 7: unlike rice, which is quite easy to pull out because
• 58:40
  Speaker 7: the roots don't go as far down. And also you're
• 58:45
  Speaker 7: tending just to take the grains off the top of it.
• 58:48
  Speaker 7: Just trying to mechanize that like trying to I don't
• 58:53
  Speaker 7: even know how you do it. Have a tractor that
• 58:55
  Speaker 7: can submerge itself halfway in the water and drive along
• 58:58
  Speaker 7: these it's not going to happen. And also, I suppose
• 59:03
  Speaker 7: nutritionally they're not fantastic, but it's a nice survivalood if
• 59:08
  Speaker 7: nothing else. You find an entire riverbed full of them
• 59:10
  Speaker 7: and think, right, the next half an hour of my
• 59:12
  Speaker 7: life is pulling those out and crunching the roots down. Okay, sure,
• 59:16
  Speaker 7: I gotta do what you gotta do, but no one
• 59:19
  Speaker 7: would know how to do that.
• 59:21
  Speaker 3: I've heard that the flower from the roots can make
• 59:24
  Speaker 3: a good replacement for actual flower, but.
• 59:28
  Speaker 7: Them plant things like that. Do you dry them out
• 59:31
  Speaker 7: and just powder them? They they all have different sort
• 59:34
  Speaker 7: of flavors, so you can make like cattail crackers. They're
• 59:37
  Speaker 7: really easy to make. Just roll out and just you know,
• 59:41
  Speaker 7: dry it out, powder, roll it out with a little
• 59:44
  Speaker 7: bit of water in it, and you have a cracker.
• 59:47
  Speaker 7: It's kind of nice.
• 59:48
  Speaker 3: Yeah, land But well, but the overall like point of
• 59:53
  Speaker 3: all of this is that, like you said, ninety of
• 59:56
  Speaker 3: all of that knowledge was lost. Well, guess who was
• 59:58
  Speaker 3: probably processing all of that And feminists never talk about that.
• 1:00:02
  Speaker 3: It's a huge amount of information that women used to
• 1:00:06
  Speaker 3: control about how to turn the environment into things that
• 1:00:11
  Speaker 3: could feed people, and it's gone because of industrialization and
• 1:00:15
  Speaker 3: feminists never talk about any of that, just like they
• 1:00:18
  Speaker 3: prefer the witches to the herbalists. They don't talk about
• 1:00:22
  Speaker 3: how the women in the past, the much maligned homemakers,
• 1:00:28
  Speaker 3: which actually are more like homesteaders, had all of this
• 1:00:31
  Speaker 3: knowledge of how to survive in the environments that they
• 1:00:34
  Speaker 3: were part of. And I remember like watching this because
• 1:00:38
  Speaker 3: it was a YouTube video on all of the different
• 1:00:41
  Speaker 3: kinds of pies and bake goods and jams and other stuff,
• 1:00:46
  Speaker 3: and it was like every region had its own particular
• 1:00:50
  Speaker 3: berries and fruits and tubers, and they all knew how
• 1:00:54
  Speaker 3: to process it, how to harvest and process it, and
• 1:00:57
  Speaker 3: all of that was lost. And instead of actually thinking
• 1:01:00
  Speaker 3: about that and thinking about, well, let's call ourselves nor
• 1:01:04
  Speaker 3: let's let's let's uh look up to them, the uh
• 1:01:08
  Speaker 3: herbalists and the female homesteaders made life possible in the West,
• 1:01:13
  Speaker 3: And like, no, let's look up to the witches who
• 1:01:15
  Speaker 3: made everybody's lives miserable.
• 1:01:18
  Speaker 1: Like what?
• 1:01:19
  Speaker 3: I like? Why what? What? Your selection of female role
• 1:01:24
  Speaker 3: models leaves a great deal to be desired feminists, at
• 1:01:29
  Speaker 3: least for me. But let's uh shall we continue?
• 1:01:34
  Speaker 6: Is he he helps Haarah, who is disguised as an old,
• 1:01:38
  Speaker 6: sad woman across some river. So now Harah really likes
• 1:01:42
  Speaker 6: Jason and he's always got the good luck because of that.
• 1:01:46
  Speaker 6: And they land on Culchis where the Golden Fleece is,
• 1:01:50
  Speaker 6: and Hara is like, hey, there's no way Jason's not
• 1:01:53
  Speaker 6: gonna die. We need to convince him media to help him.
• 1:01:58
  Speaker 6: So she has Harah, the god has arrows, shoot Medea
• 1:02:03
  Speaker 6: with an arrow and make her immediately fall in love
• 1:02:06
  Speaker 6: with Jason. So Medea, even though she feels quite guilty,
• 1:02:10
  Speaker 6: betrays her family and helps Jason out. And while they're escaping.
• 1:02:15
  Speaker 3: Okay, we're glossing here, we're glossing here, Medea kills her brother.
• 1:02:22
  Speaker 3: She feels quite guilty, she kills her own brother to
• 1:02:27
  Speaker 3: slow her father's pursuit during the escape. I also want
• 1:02:31
  Speaker 3: to point something out, like I'm actually feeling more for
• 1:02:34
  Speaker 3: Jason because it feels like he's just being screwed around
• 1:02:37
  Speaker 3: with by a bunch of women. Did Jason say, hey,
• 1:02:40
  Speaker 3: I want Medea to I want overly attached girlfriend to
• 1:02:44
  Speaker 3: be to fall in love with me. Like was that
• 1:02:47
  Speaker 3: ever part of the plan or is it just assumed
• 1:02:49
  Speaker 3: that if Medea loves Jason, then he has to tolerate
• 1:02:52
  Speaker 3: it or submit to it. All Right? You see where
• 1:02:56
  Speaker 3: I'm getting is there is there any con consideration for
• 1:03:00
  Speaker 3: the fact that Jason may not want all of this
• 1:03:02
  Speaker 3: crap happening to him. I mean, I'm sure he wants
• 1:03:05
  Speaker 3: the Golden fleece, but does he necessarily want Medea? Was
• 1:03:09
  Speaker 3: his consent considered in all of this? Am I just
• 1:03:12
  Speaker 3: talking from from out of nowhere?
• 1:03:17
  Speaker 7: Men's consent in these things does not matter. It's another
• 1:03:21
  Speaker 7: trope that feminists like to do where they'll talk about like, oh,
• 1:03:24
  Speaker 7: arranged marriages, and even if you look at pop culture
• 1:03:27
  Speaker 7: and they talk about like, oh, you're going to marry
• 1:03:29
  Speaker 7: this person, the woman is always like, who, no, how
• 1:03:32
  Speaker 7: could I possibly he won't, while the guy is always
• 1:03:34
  Speaker 7: like just sort of leering and salivating, like he just
• 1:03:37
  Speaker 7: can't wait to rape her on their wedding night. If
• 1:03:40
  Speaker 7: you actually go historically, when it comes to arrange marriages, generally,
• 1:03:45
  Speaker 7: in a lot of cases, neither party was thrilled about
• 1:03:47
  Speaker 7: it because they didn't they weren't interested, or if it
• 1:03:51
  Speaker 7: was arranged a little bit more communally, because they were
• 1:03:54
  Speaker 7: both in the same sort of community, they were people
• 1:03:57
  Speaker 7: who already knew each other. And their families and probably
• 1:03:59
  Speaker 7: already poked them in the same direction. Anyway, This idea
• 1:04:04
  Speaker 7: that any sort of relationship and arranged thing like this
• 1:04:07
  Speaker 7: is this one sided where only the woman is the
• 1:04:11
  Speaker 7: hard done two party. It just seems to be a
• 1:04:14
  Speaker 7: trope of modernity, and it's one that feminists rather enjoy.
• 1:04:19
  Speaker 7: You know, you'll never find them talking about. There are
• 1:04:24
  Speaker 7: men who were forced into marrying women that they had
• 1:04:27
  Speaker 7: no interest in, or in some cases were actively repulsed by,
• 1:04:32
  Speaker 7: because they needed some sort of military alliance or something
• 1:04:37
  Speaker 7: like that. An example of that in this country Henry
• 1:04:44
  Speaker 7: the Eighth. It was I think it was Anne of Cleaves.
• 1:04:48
  Speaker 7: He found her to be hideously ugly. There was a
• 1:04:50
  Speaker 7: bunch of stories about how attractive he found her. Apparently
• 1:04:54
  Speaker 7: it was not very much. So they ended up getting
• 1:04:58
  Speaker 7: what was it divorced, Yeah, it was a divorce that. Yes, yes,
• 1:05:04
  Speaker 7: that one was one of the ones which was divorced.
• 1:05:07
  Speaker 7: But apparently they stayed friends after that anyway, Like they
• 1:05:10
  Speaker 7: were basically just pushed into marrying each other even though
• 1:05:12
  Speaker 7: they were apparently not that interested in each other in
• 1:05:15
  Speaker 7: that way. After the divorce, they still like wrote letters
• 1:05:19
  Speaker 7: and stuff to each other. Apparently they quite liked each
• 1:05:21
  Speaker 7: other as people, they just had no romantic interest in
• 1:05:24
  Speaker 7: each other.
• 1:05:27
  Speaker 3: Yeah, that's uh, I remember because I've been reading about
• 1:05:30
  Speaker 3: this kind of arranged stuff throughout history. I actually read
• 1:05:34
  Speaker 3: something on the European kings and mistresses and wives and stuff,
• 1:05:40
  Speaker 3: and yeah, there was no like in many cases, they
• 1:05:44
  Speaker 3: did not consent to this stuff. They just sort of
• 1:05:47
  Speaker 3: held their nose for their their country and a lot
• 1:05:52
  Speaker 3: of these women they were not attracted to at all,
• 1:05:54
  Speaker 3: which is why they often had mistresses. And what was
• 1:05:57
  Speaker 3: interesting is the king would have mistresses, but almost always
• 1:06:00
  Speaker 3: in Europe, the mistress themselves would be married, and usually
• 1:06:05
  Speaker 3: boons would accrue to her and her husband for this
• 1:06:07
  Speaker 3: arrangement because it seemed to their mind in the Middle
• 1:06:12
  Speaker 3: Ages that it would be worse to take a woman
• 1:06:15
  Speaker 3: who wasn't married. So that's something that people don't know.
• 1:06:21
  Speaker 3: And again, it was sort of almost like a palliative
• 1:06:25
  Speaker 3: for the fact that the guy had to perform for
• 1:06:29
  Speaker 3: a woman that he did not choose and probably was
• 1:06:32
  Speaker 3: not attracted to, and he had to do that in
• 1:06:34
  Speaker 3: order to create an air for the country. And it's
• 1:06:39
  Speaker 3: really it's really amusing because when you read that you
• 1:06:43
  Speaker 3: get a sense that these guys were just men dealing
• 1:06:47
  Speaker 3: with the situation that was actually quite unpleasant, being forced
• 1:06:52
  Speaker 3: to reproduce like a bull. And yeah, there's there's some
• 1:06:57
  Speaker 3: funny things. One example, this wasn't actually a king was
• 1:07:01
  Speaker 3: a there was a there was an aristocratic man who
• 1:07:04
  Speaker 3: a pope i believe, wanted to make an arrangement. This
• 1:07:07
  Speaker 3: was the time when the popes just had concubines, and
• 1:07:11
  Speaker 3: nobody even commented on it until the Reformation, when they
• 1:07:14
  Speaker 3: were like, you guys are a bunch of sluts. We
• 1:07:16
  Speaker 3: don't think you're you should be heading the church or whatever.
• 1:07:20
  Speaker 3: That's a very very loose appraisal of history and that
• 1:07:23
  Speaker 3: so don't don't, don't take it to the bank. But
• 1:07:27
  Speaker 3: so this the pope was trying to get this guy
• 1:07:29
  Speaker 3: to marry either a niece or a daughter, and the
• 1:07:33
  Speaker 3: girl was like twelve, and they got the arranged marriage,
• 1:07:37
  Speaker 3: but the guy was like, no, I'm not consummating, and
• 1:07:40
  Speaker 3: the pope was like, yes you are, because then you
• 1:07:43
  Speaker 3: know I'm not gonna let you square them out of this.
• 1:07:45
  Speaker 3: He's like, she's twelve, And so they chased him around
• 1:07:48
  Speaker 3: Europe for a bit, tried to chase him down and
• 1:07:52
  Speaker 3: they finally cornered him, and he like did the minimum,
• 1:07:55
  Speaker 3: the bare minimum, and then just was like, Okay, everybody's traumatized,
• 1:07:58
  Speaker 3: the marriage is consumate, and please leave me the fuck alone.
• 1:08:04
  Speaker 3: And I just found this entire like sequence. I know
• 1:08:07
  Speaker 3: it's horrifying, but it's also sort of blackly comedic. Is
• 1:08:13
  Speaker 3: it okay to say that? I mean, it's it's horrifying,
• 1:08:18
  Speaker 3: but it's uh.
• 1:08:20
  Speaker 1: Damn it.
• 1:08:27
  Speaker 3: Yeah, and it just it just, uh, it sort of
• 1:08:29
  Speaker 3: punctuates how unpleasant this all was. I'm not exactly sure
• 1:08:33
  Speaker 3: if like anything really happened. It's just that they spend
• 1:08:36
  Speaker 3: a night together, but yeah, it was, uh, it's it's
• 1:08:40
  Speaker 3: it's it just punctuates how unpleasant all of this was.
• 1:08:44
  Speaker 3: And again, it was mostly it was the aristocracy. It
• 1:08:46
  Speaker 3: was anybody who had anything to do with like an
• 1:08:49
  Speaker 3: inheritance that did this kind of stuff. Everybody else was
• 1:08:52
  Speaker 3: just even in the Middle Ages, we're just sort of
• 1:08:55
  Speaker 3: especially in Northern Europe, they were just doing it normally,
• 1:08:59
  Speaker 3: just a court getting married in your mid to late twenties. There,
• 1:09:04
  Speaker 3: you go to a person that you actually knew and liked.
• 1:09:09
  Speaker 3: If you didn't have property, it wasn't an issue, right,
• 1:09:12
  Speaker 3: so you might as well just get somebody you you like,
• 1:09:17
  Speaker 3: if you're a peasant or if you're a trades person.
• 1:09:21
  Speaker 3: But yeah, it's it's a lot different than what people think.
• 1:09:24
  Speaker 2: It was, all right, I got a couple of superchows
• 1:09:29
  Speaker 2: and then we'll play more of the videos. So Official
• 1:09:32
  Speaker 2: Reverse Traditionalism channel on YouTube gave us five dollars on
• 1:09:36
  Speaker 2: superchow and said, teal dear, is there one book you
• 1:09:39
  Speaker 2: would recommend for someone who wants to read and interpret
• 1:09:42
  Speaker 2: studies and identify statistical fallacies in them?
• 1:09:50
  Speaker 7: I haven't heard that, but one book no identifying nonsense.
• 1:09:56
  Speaker 7: When it comes to any sort of pay reviewed stuff,
• 1:09:58
  Speaker 7: you just have to but I don't even know. You
• 1:10:01
  Speaker 7: just have to read a bunch of it and just
• 1:10:04
  Speaker 7: sort of understand basic methodologies. In some cases, it's just
• 1:10:09
  Speaker 7: very easy. If you read the sorts of feminist peer
• 1:10:12
  Speaker 7: reviewed stuff that I've spent an annoying amount of time
• 1:10:15
  Speaker 7: doing over the years, it's replete with very basic errors.
• 1:10:19
  Speaker 7: You'll probably spot a bunch of them as it is. Otherwise,
• 1:10:24
  Speaker 7: like the most common sorts of statistical errors that you're
• 1:10:26
  Speaker 7: going to find in a lot of papers is it's
• 1:10:33
  Speaker 7: the lowest level of statistical fuckery that you're going to find.
• 1:10:37
  Speaker 7: It's things like small control groups, very biasedly selected or
• 1:10:43
  Speaker 7: located control groups, or groups of people, the outright removal
• 1:10:49
  Speaker 7: of control groups, or just straight up pea hacking or
• 1:10:55
  Speaker 7: changing the metrics that you're using. Just like you don't
• 1:10:58
  Speaker 7: find what you want using one method, you take the
• 1:11:01
  Speaker 7: same data and then you just decide to change your
• 1:11:03
  Speaker 7: methodology for whatever reason. They just change whatever the formula
• 1:11:09
  Speaker 7: is that they're putting it through, whatever regression it is.
• 1:11:12
  Speaker 7: They'll just change things like that till they get the
• 1:11:15
  Speaker 7: what they want as the outcome. I mean, that's just
• 1:11:17
  Speaker 7: pea hacking anyway. So yeah, if you want to know
• 1:11:19
  Speaker 7: how to find out problems with statistics when it comes
• 1:11:21
  Speaker 7: to like this sort of social so called science thing,
• 1:11:25
  Speaker 7: just read up on the concept of pe hacking. That'll
• 1:11:27
  Speaker 7: explain like half of.
• 1:11:29
  Speaker 2: It, all right, and dark Tiki Moura gave us five
• 1:11:34
  Speaker 2: dollars and said, do you suppose the reason that feminists
• 1:11:37
  Speaker 2: call themselves witches but trad wives never call themselves, Kiki mouras,
• 1:11:42
  Speaker 2: what is is because tradwives have better shit to do.
• 1:11:46
  Speaker 2: Because Alison has previously said nineteen fifties trad wives were
• 1:11:50
  Speaker 2: the first demographic to have leisure time, having nothing better
• 1:11:54
  Speaker 2: to do. Compared to that would have to be a
• 1:11:56
  Speaker 2: pretty low bar.
• 1:12:00
  Speaker 3: Okay, I think yes, the fifties housewives was an invention
• 1:12:04
  Speaker 3: of Hollywood. Prior to that, women were doing a heck
• 1:12:07
  Speaker 3: of a lot of work. Just just see how Tielder
• 1:12:10
  Speaker 3: described making something out of the things in his garden.
• 1:12:15
  Speaker 3: That was the kind of work women were doing prior
• 1:12:17
  Speaker 3: to the industrialization of food, all right, And there wasn't
• 1:12:22
  Speaker 3: you know, like if you get your mail by train,
• 1:12:26
  Speaker 3: you're not going to be able to have a heck
• 1:12:28
  Speaker 3: of a lot of staples. You have to actually figure
• 1:12:32
  Speaker 3: out how to get a living off of your environment.
• 1:12:35
  Speaker 3: And that's what the that's the work that women did.
• 1:12:38
  Speaker 3: That's why when men had to have a house housekeeper
• 1:12:44
  Speaker 3: or something or a female presence in their home doing
• 1:12:47
  Speaker 3: that work in order to allow survival. So again, fifties
• 1:12:53
  Speaker 3: housewife is an invention of as a post Second Industrial
• 1:12:57
  Speaker 3: Revolution invention, a post Madison Avenue invention. Like it's it's
• 1:13:02
  Speaker 3: basically a construct, and it's very very unique in human
• 1:13:07
  Speaker 3: history that women didn't have to work in order to
• 1:13:10
  Speaker 3: maintain the survival of their families and their communities, and
• 1:13:14
  Speaker 3: for whatever reason, that wasn't good enough, you know, And honestly,
• 1:13:19
  Speaker 3: I would say that does sort of speak in a
• 1:13:22
  Speaker 3: sort of a dark way, well of women. You took
• 1:13:25
  Speaker 3: away their job and then they went nuts. And yeah,
• 1:13:32
  Speaker 3: maybe uh, Devil's Idle Hands or Devil's playground should have
• 1:13:36
  Speaker 3: considered that before we did that. All right.
• 1:13:39
  Speaker 2: Well, the other thing I'll say about this, the trad
• 1:13:41
  Speaker 2: wif thing is like, just like the which thing, it's
• 1:13:44
  Speaker 2: just an aesthetic. Most of this, the online trad wife stuff,
• 1:13:47
  Speaker 2: is just that it's just an aesthetic. It's not actually
• 1:13:50
  Speaker 2: a lifestyle. They're just they're just essentially trying to make
• 1:13:54
  Speaker 2: other women online jealous. Like that's that's all it is.
• 1:13:58
  Speaker 2: So yeah, wouldn't I don't look at what you see
• 1:14:01
  Speaker 2: on the internet that is presenting itself as trad especially
• 1:14:07
  Speaker 2: if it's coming from women, and take it at face value,
• 1:14:09
  Speaker 2: because it is most likely nothing but marketing their own
• 1:14:13
  Speaker 2: like social media clout.
• 1:14:15
  Speaker 1: That's all it is. It's not it's not real, you know,
• 1:14:18
  Speaker 1: it's just it's just a skin suit.
• 1:14:21
  Speaker 2: But anyway, uh, let's uh yeah, let's play more of
• 1:14:25
  Speaker 2: the video builds her.
• 1:14:27
  Speaker 6: Own brother to distract her father. So Jason and the
• 1:14:31
  Speaker 6: Argonauts and now also Medea can leave. Medea and Jason
• 1:14:35
  Speaker 6: get married. You know, it's it's a love story. Medea
• 1:14:38
  Speaker 6: is banned from her home country now obviously because she
• 1:14:40
  Speaker 6: killed her brother and everything. So they take the Golden
• 1:14:43
  Speaker 6: fleece and they go back. Ioclus is that where Jason
• 1:14:47
  Speaker 6: is from. King Pelias is like I see that you've
• 1:14:49
  Speaker 6: brought the Golden fleece, but like, also, no, I'm gonna
• 1:14:52
  Speaker 6: be king. You're not gonna be the king. And so Medea,
• 1:14:54
  Speaker 6: in anger, tricks King Pelias's daughters into killing him. And
• 1:15:01
  Speaker 6: obviously that doesn't make Jason the king because they just
• 1:15:04
  Speaker 6: murdered the king. So they have to escape. So they
• 1:15:06
  Speaker 6: escape to Corinth and they're they're not royal, but they're
• 1:15:11
  Speaker 6: just like happy. It's a love story they have they have.
• 1:15:14
  Speaker 3: Okay, wait, wait, I'm going to actually blow this whole
• 1:15:18
  Speaker 3: idea of happiness out of the water. All right, let's
• 1:15:21
  Speaker 3: set this up from Jason's side, because nobody is actually
• 1:15:24
  Speaker 3: looking at it from a position of what this guy
• 1:15:28
  Speaker 3: the situation. This guy isn't Okay, fought a.
• 1:15:31
  Speaker 2: Bunch of skeletons and a hydra and like like dealt
• 1:15:35
  Speaker 2: with Poseidon.
• 1:15:36
  Speaker 1: I watched the movie. That's that's what the Rhodes.
• 1:15:44
  Speaker 3: You know, I'm actually talking about this whole Hara.
• 1:15:50
  Speaker 7: Ray Harry house and museum piece. His mind is blown.
• 1:15:56
  Speaker 2: Actually, it wasn't Colosses of Roads. It was Tallos Tallos
• 1:15:59
  Speaker 2: the Golum. But anyway, sorry, okay.
• 1:16:03
  Speaker 3: All right, so no, that was great. But let's look
• 1:16:07
  Speaker 3: at the whole situation with the marriage between Jason and Media. Okay,
• 1:16:12
  Speaker 3: so we have a situation that this is a gift
• 1:16:15
  Speaker 3: from Harah, and I want to remind everybody what happens
• 1:16:20
  Speaker 3: when you refuse a gift from Harah. She don't like it,
• 1:16:27
  Speaker 3: and she will she will consider it her her career
• 1:16:32
  Speaker 3: to end you if you refuse a gift from her.
• 1:16:37
  Speaker 3: I'm trying to get the.
• 1:16:40
  Speaker 7: A.
• 1:16:43
  Speaker 3: I'm trying to get a specific example. But anyway, so
• 1:16:46
  Speaker 3: you don't refuse gifts from either Aphrodite or hera and
• 1:16:49
  Speaker 3: if you do, you're in a world of pain. And
• 1:16:52
  Speaker 3: Jason has to know that because he lives in this world.
• 1:16:55
  Speaker 3: So here we have media being delivered up and this
• 1:17:00
  Speaker 3: is again a gift from Hara. If he refuses it.
• 1:17:03
  Speaker 3: His life is over. Basically, he doesn't become king of
• 1:17:07
  Speaker 3: his of Ococus and yeah, so and all other calamities
• 1:17:15
  Speaker 3: befall him. Is that consent?
• 1:17:20
  Speaker 6: Huh?
• 1:17:21
  Speaker 3: Like, did he actually consent to this? You marry this
• 1:17:25
  Speaker 3: woman or your life is destroyed? Is that consent?
• 1:17:29
  Speaker 1: Like?
• 1:17:29
  Speaker 3: I know that in ancient Greece they didn't have these
• 1:17:34
  Speaker 3: kinds of concepts. However, if we're going to apply modern
• 1:17:37
  Speaker 3: concepts to Medea, we should allow those concepts to be
• 1:17:41
  Speaker 3: applied to Jason. And the answer is no, he doesn't
• 1:17:44
  Speaker 3: even have the benefit of love pollen that she does.
• 1:17:48
  Speaker 3: Like she's been she's had all of her hormones activated
• 1:17:51
  Speaker 3: towards him. All he has the benefit of is I
• 1:17:53
  Speaker 3: gotta do this and if I don't, Hara's gonna smite me.
• 1:17:58
  Speaker 3: That's not consent. So, and again, if we're going to
• 1:18:02
  Speaker 3: bring in modern readings, let's do it across the board
• 1:18:06
  Speaker 3: for Jason as well. This is a non consensual marriage
• 1:18:09
  Speaker 3: on his part. He is forced to marry this woman. Now,
• 1:18:12
  Speaker 3: maybe she's attractive, but I don't know, Like she's thrown
• 1:18:16
  Speaker 3: off a lot of red flags. Let's just say you
• 1:18:19
  Speaker 3: killed your brother so I could escape all right, that's
• 1:18:23
  Speaker 3: a that's a bit of a red flag there. But anyway,
• 1:18:27
  Speaker 3: let's get married because if I don't, Harra will smite
• 1:18:29
  Speaker 3: me or aphrodite. Aphrodite is even worse, right, So let's
• 1:18:34
  Speaker 3: uh yeah, and then I'll then I'll have sex with
• 1:18:36
  Speaker 3: you and we'll have children. None of this is consensual
• 1:18:39
  Speaker 3: on my part because I just don't want to be smoated, right,
• 1:18:42
  Speaker 3: And nobody considers that because they're just like, oh yeah, Jason,
• 1:18:46
  Speaker 3: he uh, it is a beautiful princess. Of course he's
• 1:18:49
  Speaker 3: gonna go for it, not just have her. We wipe
• 1:18:52
  Speaker 3: the blood off of her brother's blood off her hands.
• 1:18:54
  Speaker 3: He'll be fine. That's what the way men are, right,
• 1:18:58
  Speaker 3: And it's like nobody considers that. Nobody imports the modern
• 1:19:03
  Speaker 3: reading for the male character and all of this. And
• 1:19:07
  Speaker 3: if you do import the modern reading, what actual loyalty
• 1:19:11
  Speaker 3: does he have to a marriage that's coerced?
• 1:19:16
  Speaker 2: Huh?
• 1:19:17
  Speaker 3: That he has to do in order to win his
• 1:19:20
  Speaker 3: kingship and not be smited by two very vengeful goddesses.
• 1:19:26
  Speaker 3: There's a zero consent on his part, zero legitimate consent.
• 1:19:30
  Speaker 3: I mean, if we walk through it with like the
• 1:19:32
  Speaker 3: modern eye to like inner monologue. You know, he's probably
• 1:19:39
  Speaker 3: saying to himself, well, she's a beautiful princess, so of
• 1:19:41
  Speaker 3: course I consent, but really think about it. No, and again,
• 1:19:46
  Speaker 3: what loyalty does he owe to something that was coerced
• 1:19:49
  Speaker 3: out of him? Right? It really changes the reading of
• 1:19:55
  Speaker 3: media actions, doesn't it.
• 1:19:57
  Speaker 1: Yeah, Wow, it's almost like it's not that simple.
• 1:20:01
  Speaker 3: Yeah, it's not that simple. And again, if you want
• 1:20:05
  Speaker 3: to apply modern standards to the Greek a Greek story,
• 1:20:09
  Speaker 3: you should apply them both ways. And if when you
• 1:20:13
  Speaker 3: apply them both ways, I'm afraid Joe Jason's a victim
• 1:20:18
  Speaker 3: of coercion and as such, his expecting him to stay
• 1:20:26
  Speaker 3: loyal to someone he was forced to marry and forced
• 1:20:29
  Speaker 3: to have sex with it just as well. In terms
• 1:20:33
  Speaker 3: of our ethics, it's it's not ethical like we're you know,
• 1:20:39
  Speaker 3: we're we're post Christian marriage. We believe both parties should consent,
• 1:20:44
  Speaker 3: and neither party should consent a threat of death, Well
• 1:20:47
  Speaker 3: guess what. Guess what the threat that Jason was operating under. Okay,
• 1:20:54
  Speaker 3: but she doesn't see this like that, and none of
• 1:20:56
  Speaker 3: her the people watching even considered this reading, none of them,
• 1:21:02
  Speaker 3: It doesn't even enter their mind isn't that interesting? Okay, Well, what.
• 1:21:10
  Speaker 7: You have to understand is he is a man. So
• 1:21:12
  Speaker 7: when a woman approaches him, you know, arms bloodied, spat
• 1:21:18
  Speaker 7: it all over her and says, I just killed my brother,
• 1:21:21
  Speaker 7: Now put a baby in me. I mean obviously he's
• 1:21:25
  Speaker 7: you know, he's going to be all over that. That's
• 1:21:27
  Speaker 7: just how it works. I mean, the guy. The guy's
• 1:21:30
  Speaker 7: brain is currently exploding with maths and algebra, thinking is
• 1:21:34
  Speaker 7: she hot enough to be this crazy?
• 1:21:42
  Speaker 3: It's funny because it's horrible. Okay, let's keep going. We
• 1:21:45
  Speaker 3: probably should get a bit further to the things that
• 1:21:48
  Speaker 3: she said. Huh, and they live there.
• 1:21:52
  Speaker 6: Fun So this is Medea at the start of the
• 1:21:54
  Speaker 6: play by Euripides. She's kind of an immigrant. She no
• 1:21:59
  Speaker 6: longer has a home. She's made a lot of enemies,
• 1:22:02
  Speaker 6: but she has dedicated herself and their family and the
• 1:22:07
  Speaker 6: play about euribities. They have two sons, and she has
• 1:22:11
  Speaker 6: kind of given up everything, including her homeland, to be
• 1:22:15
  Speaker 6: with this man and have these children.
• 1:22:18
  Speaker 3: And of course, okay, uh, she's made a lot of
• 1:22:26
  Speaker 3: enemies and it's almost like, oh, she's a victim of
• 1:22:28
  Speaker 3: being Yeah, but consider everything she's been doing, I don't know,
• 1:22:34
  Speaker 3: I think she's earned those enemies. Okay. Sorry.
• 1:22:41
  Speaker 6: The play opens with Jason having left Medea to marry Glocky,
• 1:22:49
  Speaker 6: the daughter of King Creon. That's that's how the play opens.
• 1:22:53
  Speaker 6: And this is of course bad because Jason, in the
• 1:22:57
  Speaker 6: eyes of the gods, including Hara and the law of
• 1:23:00
  Speaker 6: the land, he's married to Medea. And you can't just
• 1:23:04
  Speaker 6: marry someone else media is famous.
• 1:23:08
  Speaker 1: What about what about when you're famous? No, I think,
• 1:23:12
  Speaker 1: I mean, I don't know, I don't I don't know
• 1:23:14
  Speaker 1: that it's the idea of well, I don't know. It's
• 1:23:19
  Speaker 1: ancient Greece, it's not modern. But okay, let's just keep.
• 1:23:22
  Speaker 3: Going, like, I just want to point out that this
• 1:23:24
  Speaker 3: is not the behavior of a man who's happy. I
• 1:23:29
  Speaker 3: just want to say, no, no, and uh, the whole
• 1:23:34
  Speaker 3: idea of being coerced into it, because it's a gift
• 1:23:37
  Speaker 3: from Hara and uh an Aphrodite, you know, and now
• 1:23:42
  Speaker 3: and now he's going to get his Uh. The Aphrodite
• 1:23:46
  Speaker 3: and Harara are going to show him through Medea what
• 1:23:50
  Speaker 3: happens when you when you have when you deny one
• 1:23:55
  Speaker 3: of their gifts, shall we say, And it's going to
• 1:23:58
  Speaker 3: be horrifying, Okay, let's keep going.
• 1:24:03
  Speaker 6: Beslie a witch and a murderer. So King Creon, worried
• 1:24:07
  Speaker 6: about his daughter who's going to marry Jason, is like, media,
• 1:24:11
  Speaker 6: you have to get out of here, and Medea convinces
• 1:24:14
  Speaker 6: King Creon like, I totally will. I'll totally go, but
• 1:24:17
  Speaker 6: you have to give me one day to like sort
• 1:24:19
  Speaker 6: out everything. And media uses this one.
• 1:24:23
  Speaker 3: You are making ned Stark's mistake. You are making the
• 1:24:29
  Speaker 3: exact mistake that ned Stark made. Wait, wait, maybe ned
• 1:24:34
  Speaker 3: Stark is making the exact state mistake Creon made. King
• 1:24:37
  Speaker 3: Creon made considering the antiquity. You guys know what I'm
• 1:24:43
  Speaker 3: talking about, right. Ned Gate went to Searcy or whatever
• 1:24:46
  Speaker 3: her name is Kersey. Yeah, yeah, he went to her
• 1:24:54
  Speaker 3: and said, you have like go go, get your your
• 1:24:58
  Speaker 3: incest children out of the city. I'm gonna tell your
• 1:25:02
  Speaker 3: husband what you've been up to. And then she took
• 1:25:06
  Speaker 3: that opportunity to kill him instead. That's your first mistake.
• 1:25:13
  Speaker 3: Just tell her to leave, don't give her a day. Okay,
• 1:25:16
  Speaker 3: let's see what horrible thing media gets up to, you.
• 1:25:19
  Speaker 6: Know, plot the murder of Glaucy King Creon and also
• 1:25:23
  Speaker 6: her children that she has with Jason.
• 1:25:26
  Speaker 3: Wow, I guess, uh, if you're gonna do it, you
• 1:25:29
  Speaker 3: better go beg right. You know, at this point, it's
• 1:25:34
  Speaker 3: it's no longer like Medea is coerced by Aphrodite or Hara.
• 1:25:38
  Speaker 3: At what point does her actual violation come into this? Right?
• 1:25:43
  Speaker 3: And why don't we look at it at this point
• 1:25:45
  Speaker 3: of like, Hara and Aphrodite are basically delivering Jason of
• 1:25:48
  Speaker 3: the augernauts are argonauts up to her, you know, sands
• 1:25:52
  Speaker 3: his consent. He doesn't have a choice in the matter,
• 1:25:56
  Speaker 3: and now that he sort of wants to leave the
• 1:25:59
  Speaker 3: arrange that he never had a choice in the matter,
• 1:26:02
  Speaker 3: She's going full scorched earth on everybody. Seems like, uh,
• 1:26:08
  Speaker 3: like his his betrayal of the oath presumably is I
• 1:26:14
  Speaker 3: want to get out of this relationship. Her betrayal is
• 1:26:17
  Speaker 3: I'm gonna kill everybody and make your life a living
• 1:26:20
  Speaker 3: fucking hell if you try. These two are not.
• 1:26:28
  Speaker 7: Potato.
• 1:26:30
  Speaker 3: These two are not the same kind of reaction here.
• 1:26:34
  Speaker 3: This is not the same reaction. And honestly, like, couldn't
• 1:26:38
  Speaker 3: this have been solved if Aphrodite also shot Jason? They couldn't.
• 1:26:45
  Speaker 3: Couldn't they just be like, Okay, well, let's do both
• 1:26:47
  Speaker 3: of them and then everything will be fine, right. I mean,
• 1:26:50
  Speaker 3: maybe they'll be a little bit Bonnie and Clyde with
• 1:26:52
  Speaker 3: the killing people, but but they'll at least want to
• 1:26:57
  Speaker 3: both want to be in the relationship. Do they consider
• 1:26:59
  Speaker 3: that or is it just they're they're just capricious and
• 1:27:02
  Speaker 3: awful like this, both Hara and Aphroditi. The answer is
• 1:27:05
  Speaker 3: they are. They are both capricious and awful, right, and
• 1:27:12
  Speaker 3: this this disaster again, like Jason simply saying, Okay, I
• 1:27:17
  Speaker 3: went out of this relationship I was coerced into, and
• 1:27:20
  Speaker 3: she's like, no, no, you do that and you will suffer.
• 1:27:26
  Speaker 3: I'm like, and she's the one who's the uh the
• 1:27:31
  Speaker 3: family annihilator? Is is our heroine? Is it? M? I
• 1:27:36
  Speaker 3: just love feminist thinking, Okay, let's keep going.
• 1:27:40
  Speaker 6: To destroy Jason. She tricks Jason into thinking she's like
• 1:27:44
  Speaker 6: totally cool with this. She sends her children to this wedding,
• 1:27:48
  Speaker 6: you know, while their father does a bigamy with this
• 1:27:52
  Speaker 6: tainted dress, and Tiara Glouky is like twenty years old
• 1:27:56
  Speaker 6: to Jason's fifty, and she just likes the things.
• 1:28:00
  Speaker 3: Obviously, well obviously this solution into this is to kill
• 1:28:06
  Speaker 3: her also, is okay? Is this twenty twenty, Like is
• 1:28:11
  Speaker 3: he actually fifty or just like thirty eight or something.
• 1:28:18
  Speaker 1: I don't know.
• 1:28:21
  Speaker 3: I feel like she's talked about what do you do?
• 1:28:23
  Speaker 1: What are you doing?
• 1:28:25
  Speaker 3: I feel like she's exaggerating the age difference to make
• 1:28:27
  Speaker 3: it worse. Keep going.
• 1:28:32
  Speaker 7: We are in the current era where a two year
• 1:28:35
  Speaker 7: or where a two year age difference makes you a pedophile,
• 1:28:38
  Speaker 7: you know, because that's how things work these days. What
• 1:28:42
  Speaker 7: do you think when she's twenty eight? Oh my god, outrage.
• 1:28:48
  Speaker 7: I don't know where this has come from in the
• 1:28:50
  Speaker 7: recent time. It's really weird.
• 1:28:55
  Speaker 3: Hm hmm. So maybe two decades, like two decades. So
• 1:29:00
  Speaker 3: if he starts as a young man and young was
• 1:29:02
  Speaker 3: really young, then as young as like sixteen, he could
• 1:29:07
  Speaker 3: be in his mid thirties, right, that's I guess she
• 1:29:13
  Speaker 3: had to go reach for the worst kind of because
• 1:29:16
  Speaker 3: it isn't actually specified, So she's just reaching for the worst. Fifties, you, guys, fifties.
• 1:29:21
  Speaker 3: Everybody knows that a fifty year old man is just
• 1:29:23
  Speaker 3: an old, disgusting prune. Let your lecherous, horrible No, he's
• 1:29:29
  Speaker 3: probably in his late thirties, early forties, right, But you
• 1:29:35
  Speaker 3: can't say that because you want to make it as
• 1:29:37
  Speaker 3: bad as possible. Okay, keep going.
• 1:29:43
  Speaker 6: It's on fire. The children have already been taken back
• 1:29:45
  Speaker 6: to Medea's house. She murders them, and then Jason shows
• 1:29:49
  Speaker 6: up and he's like, oh man, she flies away at
• 1:29:51
  Speaker 6: the end.
• 1:29:52
  Speaker 3: And no, he's not like, oh man, well Jesus Christ, lady.
• 1:30:02
  Speaker 3: He's like, at one point he's begging her to let
• 1:30:05
  Speaker 3: him touch his kids one last time. This, this is
• 1:30:10
  Speaker 3: the most manipulative mischaracterization of this story. Oh why why
• 1:30:16
  Speaker 3: am I surprised?
• 1:30:19
  Speaker 7: Yeah? This is literally like the start of his downfall,
• 1:30:21
  Speaker 7: where it just like completely destroys his life and he
• 1:30:24
  Speaker 7: ends up being drunk and miserable on a beach and
• 1:30:26
  Speaker 7: crushed under his ship. This is kind of where it
• 1:30:28
  Speaker 7: all begins, like h life ruining for him. He doesn't
• 1:30:33
  Speaker 7: just go, oh, no, I guess I'm gonna have to
• 1:30:36
  Speaker 7: I don't know, find some new people to hang out with. No,
• 1:30:38
  Speaker 7: this like ruins his life completely. He never recovers from this.
• 1:30:46
  Speaker 3: Yeah, and this is how she characterizes it. And again
• 1:30:50
  Speaker 3: I want to point out this is coercion, Like, if
• 1:30:53
  Speaker 3: we're gonna apply modern standards to this, Jason had no
• 1:30:57
  Speaker 3: choice either, marrying media or having sex with her because
• 1:31:01
  Speaker 3: she was a gift from Aphrodite and Hara. And if you,
• 1:31:05
  Speaker 3: if you deny a gift from Aphrodite and Hara, you
• 1:31:09
  Speaker 3: are ruined. Right, your life is over. As we see
• 1:31:13
  Speaker 3: now that he's denied the gift, he's basically said, you
• 1:31:16
  Speaker 3: know what, I would like to have a relationship. I
• 1:31:19
  Speaker 3: had to say in I'm gonna leave this one, go
• 1:31:21
  Speaker 3: to a relationship I actually chose. Okay, that's that's what
• 1:31:26
  Speaker 3: I'm gonna do. That's his response to all of this
• 1:31:31
  Speaker 3: coercion by Harah and Aphrodite. And if his response is nowhere,
• 1:31:35
  Speaker 3: I'm just gonna kill your children. And then as a
• 1:31:39
  Speaker 3: result of that, uh, he his wife is ruined. Like again,
• 1:31:45
  Speaker 3: at what point is Jason responsible for any of this?
• 1:31:51
  Speaker 3: Like he prot like again, you refuse a gift from
• 1:31:55
  Speaker 3: HARAA and Aphrodite, your life is ruined. As we see
• 1:31:58
  Speaker 3: proven once he refused the gift, his life was ruined.
• 1:32:02
  Speaker 3: So there was no consent even initially, no real consent
• 1:32:08
  Speaker 3: even initially to Medea in the relationship with her. So
• 1:32:13
  Speaker 3: we're just watching like the two goddesses horribly destroy some
• 1:32:17
  Speaker 3: man's life. Yes, that is Yep, that that's pretty much
• 1:32:23
  Speaker 3: Greek tragedy. Actually is it? Does this count as tragedy?
• 1:32:29
  Speaker 3: Is there a fatal flaw here aside from Jason being like,
• 1:32:33
  Speaker 3: you know, I want to assert some autonomy over my
• 1:32:35
  Speaker 3: own body. Is that the fatal flaw that he had? No? No,
• 1:32:40
  Speaker 3: if you're a man, your body is property of Hera
• 1:32:44
  Speaker 3: or Aphrodite or Medea. And if you don't submit to
• 1:32:49
  Speaker 3: all of these women, your life is ruined. Wow, that's
• 1:32:52
  Speaker 3: some boy history rhymes. Okay, let's uh, let's.
• 1:33:00
  Speaker 7: He goes out and how much this thing destroys his life.
• 1:33:04
  Speaker 7: I have found myself wondering whether because like being crushed
• 1:33:08
  Speaker 7: by your own ship, weirdly specific thing to have happened
• 1:33:14
  Speaker 7: to you. It does make me wonder if there was
• 1:33:16
  Speaker 7: supposed to be some sort of subtext to it, that
• 1:33:19
  Speaker 7: it might have actually been him killing himself, like intentionally
• 1:33:23
  Speaker 7: sort of unanchoring his ship so that it would fall
• 1:33:26
  Speaker 7: in such a way that it would do it do
• 1:33:28
  Speaker 7: him because it's like, ah, this is my ship. It's
• 1:33:31
  Speaker 7: like the only thing I've still got left. I can
• 1:33:33
  Speaker 7: go out on my own terms using the only thing
• 1:33:35
  Speaker 7: I still have left in my life, the only thing
• 1:33:37
  Speaker 7: I can control anymore. I did. I do find myself
• 1:33:40
  Speaker 7: wondering if that is supposed to be an implication there
• 1:33:43
  Speaker 7: as opposed to just some sort of slightly darkly comedic
• 1:33:46
  Speaker 7: thing that happens, because you know, if he's a sailor
• 1:33:50
  Speaker 7: of however many decade or whatever that he is, he
• 1:33:53
  Speaker 7: would know if his ship was you know, not ship
• 1:33:57
  Speaker 7: shape as it were, and the mass was just going
• 1:33:59
  Speaker 7: to randomly fall over. Yeah, I do, I do wonder somewhat.
• 1:34:05
  Speaker 3: Yeah, okay. So his reaction, he has direct grief over
• 1:34:11
  Speaker 3: the children. He calls them dearest, asks to touch their
• 1:34:14
  Speaker 3: bodies one last time, asks to bury them. He grieves
• 1:34:17
  Speaker 3: the son, specifically names them, mourns their lost future, the
• 1:34:20
  Speaker 3: line that ends with them, the inheritance that goes nowhere.
• 1:34:23
  Speaker 3: The grief is genuine, and the play renders it as genuine.
• 1:34:26
  Speaker 3: He weeps, He calls on Zeus to witness what has
• 1:34:29
  Speaker 3: been done. So he is grieves his sons, and it's
• 1:34:39
  Speaker 3: the most extended of his speeches in the play. It's
• 1:34:45
  Speaker 3: it's actually really sounds very tragic, and she just glosses
• 1:34:48
  Speaker 3: over it as oh, oh, well, I guess that's a
• 1:34:52
  Speaker 3: complication removed and again like this this these children exist.
• 1:34:58
  Speaker 3: If feminists actually extend did their phenomenology is it? Is
• 1:35:03
  Speaker 3: that the right word about rape to men. Jason was raped.
• 1:35:08
  Speaker 3: He was raped by Medea unwittingly. Like even in the
• 1:35:12
  Speaker 3: beginning you could say this was unwitting on her part.
• 1:35:15
  Speaker 3: She didn't realize like the level of coercion that's involved here,
• 1:35:19
  Speaker 3: Like you either have sex with this woman or your
• 1:35:21
  Speaker 3: life is ruined, or you get killed, right, or just
• 1:35:25
  Speaker 3: everything bad you could possibly imagine happens to you, that's coercion.
• 1:35:29
  Speaker 3: And by the feminist definition, that would be rape. So
• 1:35:32
  Speaker 3: he is mourning the children that he had with a
• 1:35:36
  Speaker 3: woman as a result of being forced to have sex
• 1:35:38
  Speaker 3: with her, forced to marry her, and essentially raped, right,
• 1:35:46
  Speaker 3: and this woman is going as is glossing over that
• 1:35:50
  Speaker 3: like it's meaningless. And yeah, I know I'm interpreting this
• 1:35:55
  Speaker 3: from a modern lens, but we're interpreting all of this
• 1:35:57
  Speaker 3: from a modern lens. And actually, you know, maybe the
• 1:36:00
  Speaker 3: ancient Greeks sort of understood this too. They had arranged marriages.
• 1:36:07
  Speaker 3: They knew that it wasn't like the consent of the
• 1:36:10
  Speaker 3: man was considered particularly important when issues of gods and
• 1:36:15
  Speaker 3: lineage were involved, okay, and now the one good thing
• 1:36:21
  Speaker 3: that came out of this horrible situation has been killed,
• 1:36:26
  Speaker 3: and he's sitting on a beach crying, and this woman
• 1:36:30
  Speaker 3: is saying, what did she Let's go back?
• 1:36:31
  Speaker 6: What?
• 1:36:32
  Speaker 3: How did she characterize this? Again? I'm just curious. Let's
• 1:36:35
  Speaker 3: the Can you go back, Brian or is that too difficult?
• 1:36:40
  Speaker 6: Just lights on fire? Her father grabs her in lights
• 1:36:43
  Speaker 6: on fire. The children have already been taken back to
• 1:36:46
  Speaker 6: Medea's house. She murders them, and then Jason shows up
• 1:36:50
  Speaker 6: and he's like, oh man, she flies away at the
• 1:36:52
  Speaker 6: end and he.
• 1:36:52
  Speaker 3: God, damn you you you are a did you? Can't
• 1:36:58
  Speaker 3: you both leave that? Aw man? That's how she characterizes it.
• 1:37:07
  Speaker 3: That's how she characterizes this entire sequence, and what has
• 1:37:10
  Speaker 3: happened to Jason? Aw man. I what a callous, deceitful
• 1:37:23
  Speaker 3: way of characterizing it?
• 1:37:30
  Speaker 1: Shall I continue?
• 1:37:32
  Speaker 3: Yeah?
• 1:37:32
  Speaker 1: Sure, okay.
• 1:37:36
  Speaker 6: It's the thing that pulls the sun, and there's dragons,
• 1:37:40
  Speaker 6: and she has the bodies of her two children and
• 1:37:43
  Speaker 6: she's like Seeya and she buries her sons in the
• 1:37:47
  Speaker 6: land of hera. So yeah, like, I'm not even joking, euryp.
• 1:37:52
  Speaker 6: It is as like me reading as an adult woman
• 1:37:54
  Speaker 6: felt very feminist to me, The discussion they were having
• 1:37:59
  Speaker 6: felt very modern.
• 1:38:00
  Speaker 3: Yeah, actually, I would agree that is very feminist. Looking
• 1:38:05
  Speaker 3: at a man crying in grief over his children that
• 1:38:08
  Speaker 3: he had as a result of a marriage that was
• 1:38:11
  Speaker 3: coerced and sex that was coerced on coerced from him,
• 1:38:17
  Speaker 3: so as a result of his coercion. And again, feminist
• 1:38:22
  Speaker 3: would term that rape a marriage children that were a
• 1:38:27
  Speaker 3: result of him being raped, and he's just watched their
• 1:38:31
  Speaker 3: mother murder them and take them away from him, and
• 1:38:35
  Speaker 3: he's crying on a beach, and this feminist characterizes that
• 1:38:38
  Speaker 3: as Oh, man, yeah, that's very feminist. This entire thing
• 1:38:45
  Speaker 3: that I'm watching is incredibly feminist, completely incapable of understanding humanity.
• 1:38:53
  Speaker 6: Okay, we hear from Jason, who's like, because in media,
• 1:38:58
  Speaker 6: I'm doing this for you. I am gonna marry a
• 1:39:01
  Speaker 6: princess and I'm gonna move away, and I'm gonna be
• 1:39:03
  Speaker 6: rich and wealthy, and i'm gonna be a king, and
• 1:39:04
  Speaker 6: I'm gonna have children with the princess, and your sons
• 1:39:07
  Speaker 6: will have royal stepbrothers. That's gonna be good for them.
• 1:39:11
  Speaker 6: I'm doing this for you actually, and the way Euripides
• 1:39:14
  Speaker 6: writes Medea, responding, this just feels very modern. Of course,
• 1:39:20
  Speaker 6: let me read to you from this translation, which is
• 1:39:23
  Speaker 6: oh Penguin Classics translated with an introduction by Philip Villicott.
• 1:39:29
  Speaker 6: I liked this one. I don't know if there's like
• 1:39:30
  Speaker 6: a better one. Okay, this is Medea talking about her
• 1:39:34
  Speaker 6: plight still more, A foreign woman coming among new laws,
• 1:39:38
  Speaker 6: new customs, needs the skill of magic to find out
• 1:39:40
  Speaker 6: what her home could not teach her how to treat
• 1:39:42
  Speaker 6: the man whose bed she shares. And if in this
• 1:39:44
  Speaker 6: exacting toil, we are successful and our husband does not
• 1:39:47
  Speaker 6: struggle under the marriage yoke, our life is enviable. Otherwise
• 1:39:51
  Speaker 6: death is better. If a man grows tired of the
• 1:39:54
  Speaker 6: company at home, he can go out and find a
• 1:39:56
  Speaker 6: cure for his tediousness. We wives are forced to look
• 1:39:59
  Speaker 6: to one man only, and they will tell us we
• 1:40:01
  Speaker 6: at home live free from danger. They go out to
• 1:40:04
  Speaker 6: battle fools. I'd rather stand three times in front of
• 1:40:07
  Speaker 6: line than bear one child. But the same arguments did
• 1:40:10
  Speaker 6: not apply to you and me. You have this city,
• 1:40:13
  Speaker 6: you have your father's home, the enjoyment of your life,
• 1:40:15
  Speaker 6: and your friend's company. I am alone. I have no
• 1:40:18
  Speaker 6: city now, my husband insults me. I was taken as
• 1:40:21
  Speaker 6: plunder from a land as the earth's edge. I have
• 1:40:23
  Speaker 6: no mother, brother, nor any of my own blood wonder.
• 1:40:28
  Speaker 3: Oh yeah, this is very feminist because she's completely gaslighting
• 1:40:31
  Speaker 3: the actual situation. You weren't taken as plunder. You killed
• 1:40:35
  Speaker 3: your freaking brother in order to escape with this man.
• 1:40:41
  Speaker 3: Like what, okay, continue.
• 1:40:45
  Speaker 6: Remedy so good? I also like this.
• 1:40:50
  Speaker 3: Yeah, of course it's good to you.
• 1:40:53
  Speaker 7: The way she complains about how she can still be
• 1:40:55
  Speaker 7: sad despite living in the highest best society that has
• 1:40:59
  Speaker 7: ever exist historically up until this point in time, and
• 1:41:02
  Speaker 7: how that's men's fault that she can still be depressed
• 1:41:04
  Speaker 7: about things. Read that bit, go on, do it, do it?
• 1:41:08
  Speaker 1: Do it?
• 1:41:08
  Speaker 7: It's funny.
• 1:41:11
  Speaker 3: Yeah, And why should Jason even have to give her
• 1:41:13
  Speaker 3: an excuse? He never consented to the freaking marriage in
• 1:41:16
  Speaker 3: the first place. In any realistic sense, it just sounds
• 1:41:22
  Speaker 3: like a guy being like, okay, I don't you know,
• 1:41:25
  Speaker 3: trying to say it's me, it's not you, it's me, right,
• 1:41:30
  Speaker 3: And no doubt he's like he's been saddled with this gorgon,
• 1:41:36
  Speaker 3: which again he didn't consent to and now he's trying
• 1:41:40
  Speaker 3: to extricate himself from her, and he's trying to frame
• 1:41:43
  Speaker 3: it in a way that appeals to her narcissism, and
• 1:41:48
  Speaker 3: we are reading this as he is the problem. And
• 1:41:53
  Speaker 3: again this whole reading completely flips what he realized. He
• 1:41:57
  Speaker 3: didn't consent to this woman. He didn't consent to any
• 1:42:01
  Speaker 3: of this. He was forced into it, because all the
• 1:42:06
  Speaker 3: Greeks know what happens when you refuse a gift from Hara,
• 1:42:10
  Speaker 3: or refuse a gift from Aphrodite, you are double plus fucked.
• 1:42:15
  Speaker 3: Your life is over. So he had no choice in
• 1:42:20
  Speaker 3: the matter. And now he's trying to extricate himself and
• 1:42:23
  Speaker 3: have some autonomy over the issue. And it's really rich
• 1:42:26
  Speaker 3: that she talks about a man toiling under the yoke
• 1:42:28
  Speaker 3: of marriage. Oh, it's actually a man toiling under the
• 1:42:33
  Speaker 3: yoke of you raping him, Medea, and no sympathy at all, Like, yeah,
• 1:42:39
  Speaker 3: I feel for her. She was forced into this by
• 1:42:41
  Speaker 3: Aphrodite and Harah, although again I don't know why these
• 1:42:46
  Speaker 3: two women, these two goddesses, couldn't have considered also, you know,
• 1:42:52
  Speaker 3: pointing the arrow at Jason. So there's a little less
• 1:42:56
  Speaker 3: turmoil in the arrangement. But I'm guessing that's because us.
• 1:43:01
  Speaker 3: That's the way God's and goddesses roll. They don't give
• 1:43:04
  Speaker 3: a crap. Their gifts are curses. So so Jason is
• 1:43:12
  Speaker 3: saddled non consensually with this gorgon of a woman who's
• 1:43:15
  Speaker 3: killed her brother, she's killed crow like a bunch of
• 1:43:19
  Speaker 3: kings and their children, and he's like, Okay, how do
• 1:43:24
  Speaker 3: I extricate myself from this relationship I didn't consent to
• 1:43:27
  Speaker 3: in the first place. And he's like, okay, well, I'll
• 1:43:30
  Speaker 3: tell her that it's it's for her benefit, because yeah,
• 1:43:35
  Speaker 3: maybe that will that will calm her. Nope, nope, And
• 1:43:42
  Speaker 3: then she has the audacity to talk about a woman
• 1:43:45
  Speaker 3: or sort a man, or women being if they're set
• 1:43:49
  Speaker 3: aside by their husbands. Okay, let's keep going.
• 1:43:58
  Speaker 7: Once again. I do in myself wondering to how much
• 1:44:02
  Speaker 7: the nature of women was known and understood by like
• 1:44:05
  Speaker 7: the ancient Greeks. As I said at the beginning, you know,
• 1:44:09
  Speaker 7: with the women being more likely to war and violence
• 1:44:13
  Speaker 7: and flipping that on its head for the sake of
• 1:44:15
  Speaker 7: being fun. It makes me wonder if the Greeks had
• 1:44:19
  Speaker 7: the sort of a similar view that we have now
• 1:44:20
  Speaker 7: where it's social media is call of duty for women.
• 1:44:23
  Speaker 7: So you don't kill fake people and get them messed up.
• 1:44:26
  Speaker 7: You do it to real people because it's fun. And
• 1:44:28
  Speaker 7: whether ancient Greeks were basically like well, when you're a goddess,
• 1:44:32
  Speaker 7: humanity is just the sims for you, and that's just
• 1:44:37
  Speaker 7: what the goddess is liked to do. Now, get in
• 1:44:41
  Speaker 7: that swimming pool so I can sell the ladder.
• 1:44:47
  Speaker 2: So I got a couple of superchows, and I just
• 1:44:50
  Speaker 2: want to let you know I got anyway, I got
• 1:44:53
  Speaker 2: a couple superchows are super chats rather from Albernata Retro
• 1:44:58
  Speaker 2: gives us five dollars Canadian and say, when does Jason
• 1:45:01
  Speaker 2: get his goalie mask? Oh wait, that's in the sequel
• 1:45:04
  Speaker 2: number three to be exact.
• 1:45:06
  Speaker 1: Oh brother, this guy stays.
• 1:45:10
  Speaker 2: And then I got another one from albert Nata Retro
• 1:45:12
  Speaker 2: for five dollars Canadian, who says, wait, threat of death
• 1:45:15
  Speaker 2: is bad way to take the romance out of it. Alison, sheesh. Okay,
• 1:45:22
  Speaker 2: let's keep going then, so you're banished.
• 1:45:28
  Speaker 6: I will not desert a friend. I have carefully considered
• 1:45:32
  Speaker 6: to see that you and the children are not sent
• 1:45:34
  Speaker 6: away with an empty purse are unprovided you no doubt
• 1:45:37
  Speaker 6: hate me, but I could never bear ill will towards you.
• 1:45:41
  Speaker 6: Your videes is so good at writing that guy. That guy,
• 1:45:44
  Speaker 6: that guy.
• 1:45:45
  Speaker 3: You know, the guy who's the guy who was coerced
• 1:45:48
  Speaker 3: into the relationship and is trying to exit without having,
• 1:45:51
  Speaker 3: you know, exploding the landmine of the woman who kills
• 1:45:54
  Speaker 3: people that get in their way like that guy. Yeah, lady,
• 1:46:00
  Speaker 3: that guy, huh, that ripe victim trying to assert bodily autonomy. Again,
• 1:46:06
  Speaker 3: she doesn't even realize what she's saying. She has no
• 1:46:10
  Speaker 3: clue what she's saying, none whatsoever, because it has never
• 1:46:16
  Speaker 3: entered her mind to look at the situation from Jason's
• 1:46:20
  Speaker 3: point of view. She just assumes that he consented to Medea, like,
• 1:46:26
  Speaker 3: because she's got that real archaic kind of attitude towards
• 1:46:31
  Speaker 3: male sexuality. You just present them an attractive princess who's
• 1:46:34
  Speaker 3: murdered people, and they're like, yeah, I'm all up that,
• 1:46:38
  Speaker 3: I'm all up in that. I have that. That's all
• 1:46:40
  Speaker 3: the consent you need, right, lady. It's probably her generation too.
• 1:46:44
  Speaker 3: They have a problem with that gen X or gen
• 1:46:48
  Speaker 3: Z gen X. Women like me, we understand that men
• 1:46:52
  Speaker 3: cannot consent to sex. Jen Z women do not understand
• 1:46:56
  Speaker 3: that the attitude towards men has gotten worse over the
• 1:47:01
  Speaker 3: last couple decades. Right, So you know, gen X women,
• 1:47:06
  Speaker 3: we know that we have to get consent from our
• 1:47:08
  Speaker 3: sexual partners. Gen Z women, Nah, it's a hit and
• 1:47:11
  Speaker 3: miss with them. They're not aware of that, which is
• 1:47:16
  Speaker 3: why they use weapons like two to three times more
• 1:47:19
  Speaker 3: than any generation or men to rape their victims, their
• 1:47:27
  Speaker 3: sexual partners. Like it's it's actually getting ridiculous now, how
• 1:47:32
  Speaker 3: sexually violent this generation of women is. And by ridiculous,
• 1:47:37
  Speaker 3: I mean horrifying. But yeah, she's her attitude is right
• 1:47:41
  Speaker 3: in line with that, right in line with that inability
• 1:47:44
  Speaker 3: to recognize the fact that men have the right to
• 1:47:46
  Speaker 3: consent to sex. Two, And that when the alternative to
• 1:47:50
  Speaker 3: Jason to consenting to media is earning the ire of
• 1:47:55
  Speaker 3: two very powerful goddesses who will make it their life's
• 1:47:57
  Speaker 3: work to end his that's not consent. All right. We
• 1:48:04
  Speaker 3: can if tield your aunts to add something to that.
• 1:48:11
  Speaker 7: Now, and I'm good. I'm just going to remind people, Yes,
• 1:48:15
  Speaker 7: that is a thing. It's called the millennial shift. To
• 1:48:17
  Speaker 7: look it up. It's very illuminating And interestingly, there's another
• 1:48:22
  Speaker 7: concurrent study to that whose name I cannot remember either
• 1:48:26
  Speaker 7: the title nor the author. But the opinions of women
• 1:48:30
  Speaker 7: in society are all increasing except for one. So we
• 1:48:34
  Speaker 7: think women are smarter than ever. We think they're, you know,
• 1:48:37
  Speaker 7: just better than ever. They're wiser than ever. They're doing
• 1:48:40
  Speaker 7: all of these things. And yet the only metric by
• 1:48:42
  Speaker 7: which opinions of women have decreased is in agency. We
• 1:48:47
  Speaker 7: think women are as a society just better than ever.
• 1:48:50
  Speaker 1: They are.
• 1:48:50
  Speaker 7: They're they're wonderful things, but they can't do anything. There
• 1:48:58
  Speaker 7: was just an interesting attitude so.
• 1:49:01
  Speaker 1: Attracts. All I'm saying is that tracks.
• 1:49:04
  Speaker 7: Yep. And as it turns out, when the thoughts of
• 1:49:08
  Speaker 7: women's agency decreases, the rapiness increases. Huh interesting, old.
• 1:49:19
  Speaker 6: And he's like, I'm doing this for us, like and
• 1:49:22
  Speaker 6: then Medea responds, of course, you filthy coward. If I
• 1:49:27
  Speaker 6: knew any worse name for such unmanliness, I'd use it.
• 1:49:31
  Speaker 6: So you've come, you my worst enemy, come to me.
• 1:49:34
  Speaker 6: Oh it's not courage. This looking friends in the face
• 1:49:37
  Speaker 6: after betraying them. It's not even audacity. It's a disease.
• 1:49:40
  Speaker 6: The worst a man can have pure shamelessness. However, it
• 1:49:45
  Speaker 6: is as well, you came to say. What I have
• 1:49:46
  Speaker 6: to say will ease my heart to hear it said,
• 1:49:48
  Speaker 6: will make you WinCE. Oh this is so good. I
• 1:49:52
  Speaker 6: love her. I love Medea. She has this like righteous anger.
• 1:49:57
  Speaker 6: Why is Jason allowed to blow up her life and
• 1:50:01
  Speaker 6: her family? And then he has the audacity to be like,
• 1:50:05
  Speaker 6: I'm doing this for you, you're my friends, Like why
• 1:50:08
  Speaker 6: are you so mad? What are you so mad about?
• 1:50:11
  Speaker 1: Ah?
• 1:50:11
  Speaker 6: I love that. She just says, no, she she doesn't
• 1:50:15
  Speaker 6: have to accept it. She's not going to. She will
• 1:50:18
  Speaker 6: exact a revenge so severe that Jason will never recover.
• 1:50:24
  Speaker 6: In the play, she really struggles with murdering her children,
• 1:50:28
  Speaker 6: like you know, obviously, uh.
• 1:50:31
  Speaker 3: She plays obviously. Is this is this woman's fans still
• 1:50:39
  Speaker 3: in the vertical chat? Have they said anything further? Out
• 1:50:45
  Speaker 3: of curiosity?
• 1:50:46
  Speaker 1: What was the question?
• 1:50:48
  Speaker 3: Are these is this woman's fans in the vertical chat?
• 1:50:51
  Speaker 3: Have they said anything further?
• 1:50:52
  Speaker 1: Ah?
• 1:50:54
  Speaker 2: No, they've been pretty quiet. Let me see.
• 1:50:59
  Speaker 3: That.
• 1:50:59
  Speaker 7: They one, they don't need to be here anymore.
• 1:51:01
  Speaker 1: Yeah, they've done their They've done the damage.
• 1:51:03
  Speaker 2: They laughed afterwards. Nobody's saying anything, So it's all right.
• 1:51:08
  Speaker 2: It is what it is.
• 1:51:10
  Speaker 1: Mm hmm yeah, and.
• 1:51:13
  Speaker 7: Was protected and you've commented on this video, thus boosting
• 1:51:17
  Speaker 7: it in the algorithm. Good job, guys, you did it.
• 1:51:21
  Speaker 3: Yeah, all right, So they okay. So we know that
• 1:51:29
  Speaker 3: Jason didn't consent to the marriage or sex with Medea,
• 1:51:33
  Speaker 3: all right, And but yet this is okay, and he
• 1:51:40
  Speaker 3: is trying to exit the relationship with Medeo. That's the
• 1:51:43
  Speaker 3: relationship he didn't consent to, was coerced into, even though
• 1:51:46
  Speaker 3: the play never even really mentions it. Maybe it's just
• 1:51:49
  Speaker 3: intended to be inferred. Maybe everybody watching this knows how
• 1:51:54
  Speaker 3: horrific this is, and he does. When he's trying to
• 1:51:58
  Speaker 3: exit the relationship, he frames it in a way that
• 1:52:02
  Speaker 3: this is for your benefit, Medida, because he's dealing with
• 1:52:06
  Speaker 3: a woman who kills people who get in their way, right,
• 1:52:10
  Speaker 3: And this creator has reframed all of this to make
• 1:52:14
  Speaker 3: him that guy, right and to laud what Medea is doing,
• 1:52:19
  Speaker 3: sort of like they seem to be in love with
• 1:52:21
  Speaker 3: the gone girl woman. All right. So first of all,
• 1:52:24
  Speaker 3: she stripped the divine coercion. The opening of the video
• 1:52:28
  Speaker 3: skips Harro and Aphrodite's arrangement entirely. She mentions Medea's shot
• 1:52:34
  Speaker 3: with an arrow by Aphrodite and arrows and falls in love,
• 1:52:37
  Speaker 3: treats it as a romantic complication and moves on Harrah's
• 1:52:41
  Speaker 3: coersion of Jason. The divine threat of divine destruction if
• 1:52:44
  Speaker 3: he refuses the favor does not appear at all. She
• 1:52:49
  Speaker 3: doesn't even considers that point of view. That's how she's
• 1:52:52
  Speaker 3: building up Medea as a feminist hero. She completely omits
• 1:53:00
  Speaker 3: the situation for the man, the coercion of the man,
• 1:53:04
  Speaker 3: the fact that he doesn't have is any kind of
• 1:53:06
  Speaker 3: autonomous choice in the matter, the arrangement that the foundation
• 1:53:11
  Speaker 3: gets coded as background mythological flavor. So when we have
• 1:53:15
  Speaker 3: to consider the situation for the man, that's just mythology,
• 1:53:18
  Speaker 3: that's just Greek stuff, right, rather than these the engineered
• 1:53:21
  Speaker 3: situation both parties were trapped in. Once that's gone, the
• 1:53:25
  Speaker 3: story becomes Jason met a woman and married her. That's
• 1:53:28
  Speaker 3: not what happened. Jason was coerced into marrying this woman,
• 1:53:34
  Speaker 3: which is the modern frame for free relationships, which isn't
• 1:53:38
  Speaker 3: what happened here. Okay. The only person, even if it's
• 1:53:43
  Speaker 3: coerced that Medea was shot by the arrow of love, right,
• 1:53:49
  Speaker 3: the only person here, who's getting what they want from
• 1:53:52
  Speaker 3: this relationship? Aside from Jason not imploding his life, which
• 1:53:56
  Speaker 3: I guess you could frame him getting what he wants,
• 1:53:59
  Speaker 3: he's not dying is media and everything downstream of that
• 1:54:05
  Speaker 3: gets evaluated as if the marriage was freely chosen by both,
• 1:54:08
  Speaker 3: which it wasn't. So her entire framing is omitting information
• 1:54:18
  Speaker 3: ordered in order to construct Medea as the wronged party,
• 1:54:23
  Speaker 3: when in fact she's not. She's not the wronged party.
• 1:54:28
  Speaker 3: Jason is the wronged party, and Jason is the wrong
• 1:54:31
  Speaker 3: party when you realize he didn't consent to any of
• 1:54:34
  Speaker 3: this in the first place, which she can't really conceive
• 1:54:39
  Speaker 3: of because I don't. She's got this regressive view of
• 1:54:44
  Speaker 3: men that their consent to marriage and sex is irrelevant.
• 1:54:51
  Speaker 3: Right if this was if we reverse this and Jason
• 1:54:56
  Speaker 3: was the one who was shot by the arrow and
• 1:54:59
  Speaker 3: Medea was the one who uh basically consented because if
• 1:55:05
  Speaker 3: she refused Harah's gift, she'd be destroyed. This woman would
• 1:55:11
  Speaker 3: realize that it was a coerced situation, but she doesn't
• 1:55:16
  Speaker 3: because she doesn't understand that men have a right to
• 1:55:20
  Speaker 3: bodily autonomy. She thinks that it doesn't even enter her
• 1:55:25
  Speaker 3: understanding of the world men having a right to bodily autonomy. Oh,
• 1:55:31
  Speaker 3: I never, and then she had. And from that essential
• 1:55:38
  Speaker 3: misunderstanding comes everything else. And this is why I'm always
• 1:55:45
  Speaker 3: harping on the sexual assault statistics and the fact that
• 1:55:52
  Speaker 3: the ones that are the most accurate, they actually capture
• 1:55:58
  Speaker 3: the sexual abuse of men, and they are in a
• 1:56:02
  Speaker 3: timeframe that doesn't reduce false memories, right, they find parity.
• 1:56:10
  Speaker 3: So out there in the real world, women are engaging
• 1:56:13
  Speaker 3: in sexual coersion at the same rates as men. That's
• 1:56:18
  Speaker 3: the most likely conclusion from the stats, from the most
• 1:56:20
  Speaker 3: accurate stats. That's why I keep pushing this because everything
• 1:56:26
  Speaker 3: rests The entire edifice of feminist bullshit rests on the
• 1:56:31
  Speaker 3: idea that rape is something that men do right, and
• 1:56:36
  Speaker 3: also women who have been patriarchally tainted or some crap.
• 1:56:40
  Speaker 3: They always have their hand waves for female rapists. Once
• 1:56:44
  Speaker 3: they're forced to acknowledge that women engage in sexual violence
• 1:56:49
  Speaker 3: at approximately the same rate as men, their entire belief
• 1:56:54
  Speaker 3: system falls. None of what she's saying makes any sense.
• 1:57:02
  Speaker 3: If this woman was capable of conceiving the fact that
• 1:57:04
  Speaker 3: Jason was coerced, and in fact, I want to point
• 1:57:10
  Speaker 3: out that men being coerced by goddesses is not something
• 1:57:15
  Speaker 3: that that was a foreign to Greek storytelling. Consider Odysseus,
• 1:57:23
  Speaker 3: and I think it was Seirce that coerced her him.
• 1:57:27
  Speaker 3: He was forced to pursue a sexual relationship either circ
• 1:57:33
  Speaker 3: or the other one Calypso, And again the modern reading
• 1:57:39
  Speaker 3: is just her, her, her, what a slut.
• 1:57:41
  Speaker 8: Right.
• 1:57:43
  Speaker 3: Meanwhile, every night he's crying for his family. Okay, I
• 1:57:48
  Speaker 3: think the Greeks may have had awareness of this, and
• 1:57:53
  Speaker 3: it was part of the tradition of their tragedy, that
• 1:57:58
  Speaker 3: the fact that men often did have a choice themselves,
• 1:58:03
  Speaker 3: So they may have been completely aware of what they
• 1:58:05
  Speaker 3: were writing with Medea and Jason, and boy, when you
• 1:58:08
  Speaker 3: look at it from those terms, Medea is a terrible
• 1:58:13
  Speaker 3: fucking human being, because yes, she didn't choose to fall
• 1:58:17
  Speaker 3: in love with Jason, but she apparently chooses to murder
• 1:58:21
  Speaker 3: everybody in her path, including her own children. She didn't
• 1:58:29
  Speaker 3: have to choose that. I mean, maybe they could have
• 1:58:34
  Speaker 3: had a conversation and Jayson, she could have presented some
• 1:58:38
  Speaker 3: kind of reasonableness, because I think at the point where
• 1:58:42
  Speaker 3: we're at the story here, we can fairly well ascertain
• 1:58:45
  Speaker 3: that media is not a reasonable human being. Maybe if
• 1:58:49
  Speaker 3: at some point Jason got the impression she was reasonable,
• 1:58:53
  Speaker 3: he could have explained this and said, you know, I
• 1:58:56
  Speaker 3: didn't get an arrow, I didn't get a choice. I
• 1:59:00
  Speaker 3: would like a choice. Instead, he's forced to frame things
• 1:59:06
  Speaker 3: in terms of her benefit because she's a sociopathic narcissist
• 1:59:11
  Speaker 3: who kills people who get and he gets in her way.
• 1:59:14
  Speaker 3: She's practically serial killer femina stake on everyone.
• 1:59:20
  Speaker 2: Okay, uh, I gotta go. Oh, I sent you a
• 1:59:27
  Speaker 2: message about that earlier, but yeah it's three Oh, I'm sorry.
• 1:59:34
  Speaker 3: Okay, can we give til deer a moment to respond
• 1:59:37
  Speaker 3: if you want.
• 1:59:38
  Speaker 7: Yeah, I'm just gonna say, you know, for all feminists
• 1:59:42
  Speaker 7: to talk about how you know, unrequited love doesn't exist,
• 1:59:46
  Speaker 7: you know, because women don't owe men anything, etcetera, and
• 1:59:51
  Speaker 7: men should just not have feelings for women. Well, why
• 1:59:55
  Speaker 7: why didn't Medea just you know, choose to be an
• 1:59:57
  Speaker 7: in cell? Why why didn't you just say I have
• 2:00:00
  Speaker 7: all these feelings, I'm not going to act on them.
• 2:00:02
  Speaker 7: Why you know why she doesn't He doesn't want me.
• 2:00:07
  Speaker 7: I'm not entitled to anything. I guess I should just
• 2:00:10
  Speaker 7: you know, sit down, shut up, go and hide in
• 2:00:13
  Speaker 7: my room and play video games or whatever it is
• 2:00:16
  Speaker 7: the people did in ancient Greece. You know, why why
• 2:00:18
  Speaker 7: didn't she do that? Why did she uh go and
• 2:00:22
  Speaker 7: shoot up the school as it were?
• 2:00:24
  Speaker 1: Hmm interesting, great question.
• 2:00:27
  Speaker 7: Yes, Medea the woman within cell rage.
• 2:00:31
  Speaker 3: Yeah, perfect perfect feminist serial killer with in cell rage,
• 2:00:38
  Speaker 3: overly attached girlfriend, murders everybody in her way, including her
• 2:00:41
  Speaker 3: own children. Yeah, for a perfect feminist icon. But yeah,
• 2:00:46
  Speaker 3: like I think the ultimate conclusion is, like, this is
• 2:00:48
  Speaker 3: a horrible situation created by two goddesses. Medea decided to
• 2:00:54
  Speaker 3: be in a horrible situation and make everything that much worse.
• 2:00:58
  Speaker 3: That was on her feminist icon. Everyone not Mary Carrie,
• 2:01:05
  Speaker 3: Not Mary Carrie, not Lysistrata, not Lucretia. No, a woman
• 2:01:11
  Speaker 3: who effectively raped a man. I mean she didn't know,
• 2:01:15
  Speaker 3: probably didn't consider that, and then killed his children that
• 2:01:19
  Speaker 3: he had with her as a result of that, And yeah,
• 2:01:25
  Speaker 3: made everything worse as bad as she possibly could. That's
• 2:01:31
  Speaker 3: the feminist icon.
• 2:01:35
  Speaker 1: Yay.
• 2:01:37
  Speaker 2: And it's actually right at the end of this this
• 2:01:40
  Speaker 2: time code this section, So that worked out too.
• 2:01:46
  Speaker 3: I mean she must have known, right, you know, Like
• 2:01:49
  Speaker 3: Jason is favored by that all of this is happening
• 2:01:52
  Speaker 3: because of Hara and and Aphrodite, or maybe she didn't right,
• 2:01:58
  Speaker 3: maybe he should have told her. Although again consider consider
• 2:02:04
  Speaker 3: how she responds to things getting into her way, and
• 2:02:07
  Speaker 3: imagine that conversation Jason watching this woman just plow through,
• 2:02:13
  Speaker 3: just murder her way through everything, and be like, how
• 2:02:16
  Speaker 3: the hell how do I deal with this without losing
• 2:02:19
  Speaker 3: my life? Good Lord, this woman's a curse. This is
• 2:02:24
  Speaker 3: Harah and Aphrodite's curse on Jason. Okay, all right, So
• 2:02:31
  Speaker 3: if at any point after this show is over, you
• 2:02:34
  Speaker 3: want to send a message, you want to tell me
• 2:02:35
  Speaker 3: to shut up so everybody else can speak, go to
• 2:02:38
  Speaker 3: feed the Badger dot com slash just the tip. We
• 2:02:41
  Speaker 3: get the full benefit of whatever tip you send, and
• 2:02:43
  Speaker 3: you get the benefit of having your comment not disappear,
• 2:02:47
  Speaker 3: because that's the other thing YouTube. This comment system is
• 2:02:49
  Speaker 3: a little confusing. Sometimes we can't find them. So feed
• 2:02:53
  Speaker 3: the Badger dot com slash just the tip very best
• 2:02:55
  Speaker 3: way for you to send us a comment, and it
• 2:02:57
  Speaker 3: goes into our community, which you can access online if
• 2:03:01
  Speaker 3: you're more interested in the conversation. Continuing the conversation about
• 2:03:06
  Speaker 3: this stuff and feed the badger dot com slash support
• 2:03:09
  Speaker 3: when that's available to support the show, and I'll hand
• 2:03:12
  Speaker 3: it back to you. Brian, thank you for coming on.
• 2:03:14
  Speaker 1: Tilda, Yeah, thanks for coming on. Tielder are right.
• 2:03:19
  Speaker 7: I do find myself wondering how Medea's actually being honest
• 2:03:24
  Speaker 7: and upfront with Jason. Would have gone have a woman
• 2:03:29
  Speaker 7: approaching you and just saying, Jason, the gods have cursed
• 2:03:32
  Speaker 7: me with a rapid white on for you. This is
• 2:03:35
  Speaker 7: going to be a problem.
• 2:03:41
  Speaker 3: What no woman said ever?
• 2:03:48
  Speaker 2: Well, I got a super chat from Albert Nata and
• 2:03:51
  Speaker 2: then I'm gonna wrap it up there. But we can
• 2:03:54
  Speaker 2: like get into the miss injury or read get into
• 2:03:57
  Speaker 2: the modern media media section where she talks about I
• 2:04:00
  Speaker 2: guess how this applies today as how she describes it
• 2:04:05
  Speaker 2: an adult woman. That's like how she describes herself when
• 2:04:08
  Speaker 2: she's about to say something feminist.
• 2:04:10
  Speaker 1: So I don't know what if that's like the new
• 2:04:12
  Speaker 1: Land acknowledgment or what as.
• 2:04:15
  Speaker 2: An adult woman, But anyway, Albert Nita retro gives us
• 2:04:20
  Speaker 2: five dollars Canadian and says, technically nobody chooses to be
• 2:04:23
  Speaker 2: an in cel because it's involuntarily celibate.
• 2:04:26
  Speaker 1: It's more of a social condition. Thank you for that.
• 2:04:29
  Speaker 7: All right, So it was just to make a point
• 2:04:32
  Speaker 7: because I thought it was funny.
• 2:04:36
  Speaker 3: Thank you for the clarification.
• 2:04:38
  Speaker 2: Yeah, no, we all know that in cel literally means
• 2:04:42
  Speaker 2: involuntarily celibate. I knew that you were making a joke,
• 2:04:47
  Speaker 2: and I think that most of us do. But you
• 2:04:50
  Speaker 2: have to understand till dear, we have some spergs in
• 2:04:52
  Speaker 2: our audience. So anyway, if you guys like this video.
• 2:04:57
  Speaker 7: Of the audience, I'm part of your audience.
• 2:04:59
  Speaker 2: Remember well, yeah, am I wrong?
• 2:05:05
  Speaker 1: Okay?
• 2:05:05
  Speaker 2: But anyway, if you guys like this video, please hit like,
• 2:05:12
  Speaker 2: subscribe if you're not already subscribed, hit the bell falidifications,
• 2:05:15
  Speaker 2: leave us a comment, let us know what you guys
• 2:05:17
  Speaker 2: think about what we talked about in the show today,
• 2:05:18
  Speaker 2: and please share this video because sharing is caring. Thank
• 2:05:21
  Speaker 2: you guys so much for coming on this episode of
• 2:05:23
  Speaker 2: Maintaining Frame, and thank you to tild Dear for joining us.
• 2:05:26
  Speaker 2: And we'll talk to you guys in the next one.
• 2:05:28
  Speaker 2: Have a good weekend, everybody,