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Oct. 2, 2022 - Freedomain Radio - Stefan Molyneux
01:03:38
"Don't Worry Darling" Freedomain Movie Review
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Okay, so this is a review of the new Olivia Wilde movie, which is called Don't Worry Darling, and there's going to be super massive spoilers, not just about the movie, but about your life, my life, and the history of the West and America as a whole, so... Let's get started with a synopsis.
So, the movie is the dystopian science fiction fantasy wherein this woman Alice and her husband Jack are living in this Stepford Wives kind of pastel-colored 50s world of glory.
And the film was actually shot in Palm Springs, so you can imagine these mid-century bungalows and so on, lots of brightly colored houses, kind of like the Flintstones with a modern feel, and the cliche, of course, of all the men are just the same, ticky-tacky little houses all look just the same.
They all get up and they drive to work in the same way, in the same row, and all this kind of stuff.
And there's this weird belief...
That functional people are all kind of the same, whereas dysfunctional people have all of this rank individuality, which is not true at all.
If you have two healthy legs, you can do just about anything you want, from sitting on a couch, to doing gymnastics, to any trapeze artist, anything you want.
So there's a lot of variety in healthy legs.
If you've got a broken leg, you basically just have to hobble and limp around and there's very little you can do.
Individuality is in functionality and it's an old Tolstoy thing.
Every happy family is alike, but every unhappy family is unhappy in its own way.
And it's not true at all, at all, that every happy family is alike.
Individuality arises from functionality and And it seems like pretty functional.
So it starts off with this kind of drunken bash and goofy party games and so on.
And this is just how people imagine that a great life is, is getting half drunk and flirting and all of that.
So Alice and Jack...
They're happy, deeply in love, and seems like a very good life.
It's a pretty world that they live in.
There's no crime at all.
There are no racial tensions.
There's nothing that seems to be any problem at all.
And that's, unfortunately, it's a recipe.
If you've ever been A dysfunctional person or been around dysfunctional people.
When they're around happy, productive people, they feel like they're going insane.
This is why they tend to avoid those people and those people tend to avoid them.
So a woman who's, let's say, a woman who's guarding a secret that she was, say, sexually abused as a child or something like that.
And if she's around this sort of happy, functional place, she starts to feel like she's going insane because she's faking all of her normalcy.
This is particularly true with women who look beautiful on the outside but feel ugly on the inside.
They slowly go mad because the falsity and the split, the dichotomy, is tearing them apart.
This is how terrible her life is, right?
So she has parties.
She goes swimming.
There's shopping.
She has good friends.
The children in the neighborhood love her.
This is Alice.
And her husband, Jack, played by a fairly wooden but okay, Harry Styles...
So Harry Styles comes home.
Sorry about this. It's kind of rude and graphic, but the movie is kind of graphic that way.
So she cooks her husband this great meal.
He comes home, and he's so passionate and lustful to see her.
I mean, something quite interesting happened.
Which is normally sex in movies is what Erica Young used to call the zippers fuck.
And that is that no zippers get stuck.
There's no issues.
Nobody gets a cramp.
It's all just sort of perfect and fluid.
And in this situation, Harry Styles' character Jack comes home, kisses his wife, throws her on the table and performs oral sex on her.
Now, I thought that was kind of interesting, because that's kind of a reversal of sort of the male-pleasing sexuality, where the woman goes down on the man, or there's just this male sex act, which is, you know, just rip it out and jam it in, so to speak, and that's not how female sexuality works, but it's sort of the male fantasy.
And in this case, yes, you have a beautiful, safe, friendly, crime-free, relaxed neighborhood full of happy neighbors and children who love you, and Harry Styles comes home and gives you oral sex.
This is the torture of this woman's life.
It's kind of funny, right? So we find out it's a bit more dire down the road, but that's kind of how it starts out.
Now, The Jordan Peterson stand in, according to Olivia Wilde, a guy named Frank.
And, you know, Chris Pine is, I mean, super good looking, great physique, great hair, and has a calm, commanding presence on film that's really enviable.
And so the town is called Victory, and it's one of the bugaboos of the left that there are these company towns, right?
So a mine is discovered in the middle of nowhere, and...
You have to get all these miners out there, and the miners are going to bring their wives, so you need schools, and you need pharmacies, and you need haircutting places, and you need doctors, all this kind of stuff, right?
So, a company town, and then sometimes, if money's hard to come by, because you're kind of in the middle of nowhere, you'd create this script, which the company would produce its own currency, which you could only spend at the company store.
It's considered highly exploitive.
It's one of the bugaboos.
So a company town and the 1950s.
We'll get into the 50s thing in a second, but the town is called Victory.
And my initial thought was that the men are all working on something like the Manhattan Project.
I mean, the Manhattan Project was in the war, but this is something after the war, some sort of government nuclear secret thing.
And you have to stay in the town because there's desert all the way around, so you're not allowed to leave the town.
And you can't really ask your husbands much about what they do for a living and so on.
And then, well then, Alice, you know, every time you have Utopia, you've got to put a fist in it, right?
That's just a way of punishing people for having higher aspirations and a desire for a secure, crime-free, happy world of fertility and babies.
You've got to smash that or you've got to destroy that if you're malevolent as a whole.
It's one of the things that, I mean, I just recently, not super recently, but somewhat recently finished my own science fiction magnum opus called The Future, which you can get at Free Domain.
.locals.com, and I don't put any fist in Utopia, right?
You can have Utopia, and it doesn't have to get wrecked and destroyed.
Now, in this case, in this situation, there is a Utopia, and of course, because it seems to be a happy, positive, peppy place with kids and good neighbors and a happy life and lots of sex and love and lust, you have to smash it.
So then what happens is Alice, the sort of protagonist of the woman, and she's played...
Well. And Flo, someone or other, plays her.
And Flo was in Midsommar and a couple other things.
But she plays her well.
It's a pretty underwritten character.
But she plays her quite well.
And Flo starts to notice things are just not right.
Things are just awry. I remember hiking.
I was in my teens and I hiked with two friends in Algonquin Park here in Canada.
And... We did Dungeons& Dragons, but just a talking kind of version of Dungeons& Dragons.
And I always had these towns where, you know, everything seemed fine, but there were a couple of furtive figures.
There were signs of discontent and discomfort.
And my friend was kind of mocking me this because he was a dungeon master.
And he's like, well, there's a town. Seems like a normal town.
Not everyone. There aren't suspicious moments.
There aren't people with furtive glasses.
Okay, maybe a few, but not more than normal.
And he was just kind of making fun of that.
And that's kind of a tripe.
Yeah. You set up a good situation and then somebody starts to unravel and find the negatives in that positive situation.
In other words, a woman who doesn't feel she deserves a happy marriage is going to pick at her man until he leaves her or cheats.
And this is just this sort of wreck, wreck happiness kind of thing is there.
And so what happens is Alice, the woman...
The main female protagonist.
She starts to notice that things are just odd.
So she's going to make some eggs.
And it's kind of weird because she makes a whole bunch of eggs.
She makes eggs and all of that.
And this is sort of like with Nell and I. If you start with a close-up of greasy bacon and eggs, this is considered to be a bad thing.
And don't even get me started on the...
When I was taking courses on Marxism and socialism, there were all of this...
Women were unhappy in the 50s, but they didn't even know it.
Even though unhappiness among women has risen every decade since the 1950s, particularly among white women who are now Ms.
Pac-Man consumers of the glowing dots of antidepressants, as they're so called.
So, you just do this close-up of fried food, and it's considered to be gross, and close-up of meat, and it's considered to be just gross and terrible.
Because, you know, eggs and meat and lots of casual carefree sex in a beautiful and crime-free environment.
Boy, that's just hell on earth, isn't it?
Just hell on earth.
Anyway, so she's trying to crack some eggs, and the eggs are empty, don't you know?
They just have no yolk, no white stuff, no clear stuff, just the eggs are empty.
Dun-dun-dun! So...
And then what happens is she's on a bus for no reason.
There's a lot of artifice in the film, a lot of stuff that doesn't make even the slightest bit of sense, which we can get to a little later.
So she's on a bus and she's going to the edge of town.
Dun, dun, dun. You can't go to the edge of town.
And the bus driver's like, well, that's the end of my run.
I'm going to turn around. And she sees a plane.
A red airplane.
And the airplane crashes.
And she demands that the bus driver come and help her with the victims of this plane crash.
The bus driver says no. And so she goes stumbling off into the mountains in the desert to find out about this accident.
This plane crash and help people.
And anyway, she ends up at this mysterious building.
She touches the building. She has all of these visions.
Boy, they really do like...
Olivia Wilde really does like close-ups of eyeballs.
And there are all these dancing women, you know, these...
I guess it's in the 30s where you had these black and white movies of the dancing women and they're like sort of scimitaring and scissoring around and creating these visual effects like a kaleidoscope and so on.
So she sees a whole bunch of this kind of stuff and then she wakes up back in her bed.
And remember, it turns out she's just being horribly exploited.
So she naps all afternoon, and her hardworking, beautiful, oral sex-giving husband is now cooking her a meal.
Because, you know, that's just how terrible and exploited her life is.
She can nap all day, and her husband, who works all day, will cook her a meal.
They'll cook them a meal and all that.
So, this other woman, she's a black woman, and she's unhappy, and the story is that...
Her son was out in the desert and she went out to the desert to get him and she went beyond the boundaries of the community and then her son was taken away and then she gets drugged and then she ends up killing herself.
At least this is what the woman sees, although there's a lot of, you know, the usual gaslighting thing that occurs in these kinds of movies where somebody appears to be having hallucinations.
You're seeing things that aren't there.
Dun-dun-dun. Hallucinations.
Visual hallucinations. Of course, the whole movie is a visual hallucination, but that's a sort of meta-topic.
So you have these hallucinations, and then what happens?
What happens, my friends? You have these hallucinations.
Nobody else can see them. And it's always perceived to be gaslighting.
You know, if you have a friend, and the friend says, do you see a palm tree in the middle of the living room?
And you don't. Are you gaslighting the friend to say, listen, it's not there.
I mean, maybe you need to see a doctor.
Maybe you're having some kind of hallucinations.
Maybe you're having a breakdown. Maybe you're psychotic.
I don't know. But the tree is not there.
And look, I can wave my hand in the middle and there's no tree there.
So you're definitely seeing things which is a sign of some significant mental dysfunction.
It could be physical. It could be psychological.
Maybe you're having flashbacks from LSD stored in your fat cells.
I don't know. But when somebody is seeing things that aren't there, And having terrible hallucinations, they're not well.
But it's always in movies, it's always considered gaslighting if you say to the person, a person says to you, can you see this and you can't see it?
You say, no, I can't see that. And you check checks with other people, no, other people can't see it either.
It's just gaslighting.
It's like, no, that's not gaslighting, that's called sanity.
I mean, if people are seeing things that aren't there, if they're suffering from vivid, powerful hallucinations that they believe are real...
There's something seriously...
It could be a brain tumor. It could be...
Like, there's something seriously wrong with that person's brain.
Of course, they could just be lying to get attention or some sort of just highly dysfunctional narcissistic manner and so on.
But she sees a plane.
She sees a plane crash.
She goes to where the plane's crashing and she sees this building.
There's no plane crash. So she hallucinated the plane.
And we don't know how and why...
Even in the, quote, logic of the movie, we don't know how and why...
So, the wives, they take care of the kids, they run the households, they do laundry by hand, which is, you know, a big job.
It's kind of funny. I mean, this is something that drives me nuts about complaints.
Listen, there's lots that drive me nuts about men's complaints, but this is a feminist movie, so we're going to talk about the ladies here, right?
Oh, boy, isn't it just terrible to have to do laundry.
Boy, isn't that just awful.
Isn't it terrible that once a week you have to clean the bathtubs?
Isn't it just terrible that you have to do the dishes?
Isn't it just terrible that you have to go to the grocery store and spend your husband's money to get groceries?
Isn't it crazy that people need meals every day?
You just got to do it all over again tomorrow!
It's so bizarre to me.
It's a weird belief.
Maybe it comes from consuming too much media, because in media, you almost never see the boring stuff, right?
In media, you never see, oh, oh, oh, it's the middle of a spy chase, but I really got to pee.
Oh, yes, we are investigating a shadowy conspiracy cabal across the universe, but I got a toothache, got to go see the dentist.
Like, you just don't see the boring stuff.
You don't see characters usually doing their taxes or, you know.
So I don't know if you consume too much media.
Maybe you think that everybody else's life is super exciting and just full of just adventures and they never have to do anything boring and there's never any repetition.
And it's like, oh, my God, that's crazy.
I mean, I have, for me at least, the coolest job in the known universe, and thank you so much for your support.
I think we're doing a lot of good here and really building a foundation to help the future and to some degree the present.
Freedomain.com slash donate to help out the show.
But a lot of what I do is kind of dull.
Yes, it is true that I get to speak in this way, and that's more interesting and exciting, hopefully, for you as it is for me.
But after that, what do I have to do?
Well, I've got to do a little bit of editing, I've got to normalize, I've got to take out any background noise, I've got to cut out any slurping and crunching, and then I have to create the thumbnail, and then I have to do the video production, and then I have to upload it to 55 different sites, and then I have to upload the podcast, and I have to share it, and, you know, there's more time Not doing a show to produce a show than there is in doing the show.
And, you know, I love you guys.
I love doing these shows. That stuff is boring as shit.
I'd rather watch Paint Dry because at least then I could have my own thoughts.
But the stuff that's to do with producing the show is boring as hell.
And I would say that for a lot of...
Like, relative to most people, I have more interesting stuff to boring stuff in my job.
And it's probably one of the higher ratios of interesting stuff to boring stuff.
But the boring stuff is at least equal, if not more.
You know, I've got to do my taxes, right?
So the boring stuff is probably around twice the interesting stuff, right?
So if I do a six-hour day, right, then I've got two hours of interesting stuff and four hours of boring stuff.
Well, that's life. That's life.
So for women, it's like, well, I got to do dishes and so on.
It's like, well, yeah, you can do dishes, but while you're doing dishes, you can engage in conversation with your family.
You can listen to the radio.
You can sing a song. There's lots of things that you can have your own thoughts because it's not like the...
It's like the doing of dishes is some big time-consuming, brain-consuming, can't-think-of-anything-else kind of thing.
You can go on autopilot and do other things while you are doing the laundry or that kind of stuff.
And the idea, too, that men have jobs more interesting than housework.
Well, most men don't have jobs more interesting than housework.
And most men's jobs is being bossed around by some other man, usually a boss or whatever.
It could be a woman. And it's having customers who are upset with you.
At least when you're doing your own housework, there's nobody looking over your shoulder saying, good job, bad job.
Send it back, right?
You're your own boss. You're an entrepreneur within your own home.
And it's not dangerous.
A lot of what men do in men's jobs are dangerous, right?
I mean, when I was doing gold panning prospecting up north, that was some really dangerous stuff.
I had to be super careful about things.
It turned out to be great for my metaphysics and epistemology because I don't believe in any of this higher reality nonsense.
When you've actually had to wrestle with real reality with desperately dangerous consequences, you don't end up being very impressed with Platonism.
So it did good for me, I think.
But this idea that the man's out there having all this cool, exciting, wonderful stuff in his job, And yet, women are just home and being bored.
I don't know. It's, you know, you can do the laundry and you can think about the great novel that you want to write.
You can do the laundry and puzzle out the problem of universal ethics or how to prove metaphysics or the existence of God or the nature of society.
There's tons of things you can do.
Tons of things that you can do.
I remember when I was 11 years old, I would bike around my neighborhood and With a paper route and I work on, in my brain, I would work on the novel, the science fiction novel that I was writing called By the Light of an Alien Sun.
That was boring stuff.
The job was boring, it's just delivering newspapers, but I could do...
So anyway, just this idea that the things I have to do are boring, therefore my life is unsatisfying and everything has to change to make me more stimulated.
For heaven's sakes, stimulate yourself.
If you can't stimulate yourself with your own thoughts, it doesn't matter what anybody else does in your life.
You're just going to be bored. You have to find a way to engage yourself with yourself, and then you'll almost never be bored again.
So, yeah, so she is starting to go crazy.
I mean, objectively, in the world that is being presented, she is starting to go crazy.
Crazy. And people are worried about her.
Why is she starting to go crazy?
Well, we don't know exactly, but it probably has something to do with the fact that in this story, you know, it's an interesting question, right?
So the reason why you have this whole situation where men go out to work and women stay home is so that women raise the children and educate the children and Inculcate cultural values in the children and make the next generation and make the sacrifice of men and our ancestors worthwhile in defending our civilization and our culture.
So that's the deal. Man goes out to work and the woman makes his work have meaning by creating the next generation.
That's the deal. A woman, and again, I know that there are exceptions and so this is a general trend, right?
And you know what? I very much doubt I'm going to say this, but an exception to the general trend because it's really kind of boring and you guys are smart enough to know that there are exceptions to prove the rule.
Okay. So, a woman who does not raise a man's children, but instead gives him sex, is kind of a prostitute, right?
So, if the only thing that she's really bringing to the table is her ass on the table, that's kind of prostitution, right?
I mean, sex is part of a healthy romantic relationship, part of a healthy romantic marriage, but the purpose of marriage and sex is children.
So if she's running the household, raising the kids and all these kinds of things, then she's an absolute equal partner and she's making this life worthwhile and meaningful and it's a wonderful, it's about as good a life as you can get.
But if she's saying basically, well, I don't want to have kids, but I'll have sex with you and you pay me for that.
Well, then that's kind of prostitution because she's not making the next generation, which is the purpose of sexuality.
And there's no indication that she's infertile, right?
So there's nothing sort of like that.
And of course, if she's infertile, then you can adopt.
There's lots of things that you can do where she can still end up raising kids or whatever.
Or he can divorce her and get a wife who's fertile, right?
If that's what he wants is his own kids.
So, because she says, you know, everyone's saying, why aren't you having kids?
Because there's a pregnant woman.
Like, this is a fertile world, this world of the 1950s that they're in.
Kids running around, school buses, and there's a pregnant woman.
And people are saying, well, when are you going to have kids?
And she's like, well, that's not our trajectory or whatever it is.
So she says, that's not our thing.
It's like, okay, well, that's kind of selfish.
Then basically, you're giving the man sex in return for his money.
Give a man children in return for his money, that's not prostitution.
Right? But if all you're given really is some labor, which the man could pay another person to do, and of course the labor is largely related to the fact that he's got a wife.
Right? So why does he have a relatively big house?
Why does he have a lot of laundry?
Right? Because he's got a wife.
Bachelors tend to live in pretty small places but not a lot of furniture and don't have a lot of work to do.
So you could say, ah, but she's running his household.
It's like, yeah, but that household, 80% of the labor in it is because she's there.
So she's Not really doing much to add to his comforts and so on.
So that is, you know, the fact that the eggs have no yolks, eggless, right?
Sort of an analogy for this.
But there's no indication that she can't have children.
She's just choosing not to have children.
Now that indicates a pretty significant dysfunction and an entitlement.
Which is, well, look, I do your laundry, which is mostly my clothes.
I take care of your house, which is mostly my Brick-A-Bank white elephants, tchotchkes, and crap.
You know, this sort of fills up houses when women over-decorate.
And, oh yes, by the way, I let you perform oral sex at me.
And for that, I will take 80% of your paycheck.
And it's like, hmm, that's not great.
It's kind of entitled, kind of parasitical in my opinion.
And, of course, it would be exactly the same if it was the other way around, so it's not a male-female thing.
So, she's starting to go crazy.
She's starting to have hallucinations.
Now, of course, it's always the case because they want to drive madness in the modern world.
This is sort of post-modernism and all the ridiculous things we're supposed to mouth out of fear of consequences for having honest questions involving science and reality.
So it has been enormously constant since at least the late 1950s that anyone who appears to be going crazy is actually sane and other people who attempt to rescue them from craziness are evil gaslighters.
That's just been so repetitive and it's so boring.
And this is why for me... The movie ended up being good despite itself, but for me, most of this was just like, oh yeah, I've seen this a million times before, oh yes, oh boy, the 50s, oh boy, it turns out that there's something bad.
Oh, there's a charismatic leader, oh, it turns out that he's bad.
Oh, there's a woman going crazy, turns out she's sane.
You know, I've seen it a million times before.
And the women also, it's interesting too, is that the women are all of a healthy weight.
They get together, they have dance classes, they exercise.
And this woman also, she sees the black woman pounding her head on the other side of the glass.
Like she's looking in a mirror and the black woman is coming, the one who died, is coming from the other side of the glass and smashing her head against the glass.
And this is, you know, and nobody else can see it.
So clearly she's having a hallucination, like in any kind of real world, and you can create science fiction scenarios wherein, by God, she's not having a hallucination, but in the world that is set up that is, she's having a terrible hallucination, she's becoming schizophrenic, she's losing her mind, she's having visions, it's really the worst thing that can happen to someone, sometimes even worse than death itself, which has a kind of closure to it.
And so, yeah, and if you've spent any time in your life trying to help push back at someone's delusions, whether it's from an ideological or a sense-based situation, you know what a desperately sad, miserable, horrible situation it is.
So, there's another thing.
She's cleaning windows, and the windows just close up against her and press against her face, and it's like, so she's having...
A real mental breakdown.
And there's no real explanation for any of this stuff, even in the logic of the movie, which we sort of get there, right?
So, oh gosh, what happens?
We can skip a whole bunch of stuff.
And there's a big confrontation.
She really believes that she is...
She really believes that there are all these terrible things happening.
And then there are these red-suited men that kind of remind me of the guys with blue hands in that space cowboy movie.
But anyway, there are these guys in red suits who drag people away who are asking too many questions and all this, right?
And that's interesting.
The communism theme is like red planes, red-suited guys who take you away and all this kind of stuff.
So we can sort of see some of that stuff.
Kicking in, which we'll get there.
So... Alice starts to question the lead guy, right?
The main guy, the charismatic leader named Frank, this sort of Jordan Peterson character.
Alice starts to question him at a dinner party, and he ends up leaving.
And let's see what happened here.
I made a couple of notes. Oh yes, so there's the dinner party showdown and Frank basically says, oh yeah, I'm totally manipulating everyone, which of course is not what happens.
All kinds of comes out of nowhere.
You fascinate me because you finally challenged me.
It's like, what the hell is he talking about?
I mean, did the black woman who questioned and challenged things, is she unimportant?
I don't know. It seems kind of strange, but...
So Alice ends up arguing with Jack, the Harry Styles character, and says, you know, I don't want to be here anymore.
We've got to go. We've got to leave.
Right now, Jack has just been given a big promotion, and his career is doing well.
He's an engineer at this Victory company.
And so this is kind of tough, right?
So, you know, if you marry a dud, right, which is, you know, I'm sorry to sound so harsh or whatever, and I have, you know, huge sympathy for people who are going through mental health issues.
But if you...
Marry a woman and, you know, a man is judged by the company he keeps.
You marry a woman, you have the potential and you are in fact manifesting great success as an NGA. You marry this woman and she goes mental on you.
She sees things. She screams inappropriately.
She demands that you leave a party where you're being promoted.
She just is, I mean, I hate to say sort of narcissistic and selfish because, you know, she's going through genuine mental distress.
That's pretty horrifying, right?
But it's like, okay, she won't give you babies.
She's going crazy. She's completely screwing up your career.
She's insulting your boss.
She's screaming inappropriately at your parties.
I mean, you're kind of screwed here.
You married a dud. You can't have any kids.
She's going crazy. She's screwing up your career.
What are you going to do? Oh, and then she says, we have to leave this place where we're super successful.
Well, you're super successful, and all our friends are, and you just got promoted, and you've got a great relationship with your boss, and it's like, I don't want to be here anymore.
I've got to do that, right? So basically he says, okay, we will run away together, but then what happens is that they're sitting in the car and the red-suited guys come up and take her away.
And then, it's a little tough to see because this happened to family members of mine, but there's then this electroshock therapy, which was a big thing in the 50s, I think into the 60s as well, where they ran a huge, they sort of put these things between your teeth so you don't grind your teeth or bite your tongue.
They run a huge amount of electricity through you, and it helps some people with significant depression.
I don't know if it was ever used to treat psychosis or whatever, but I've heard with severe depression there was some subjective utility to it, although just brutal.
This was in One Flew Over the Cuckoo's Nest as well.
So in the reprogramming of ALICE through electroshock therapy, I mean, I did have this, which I also had in The Matrix and other things, where it's just like, and it wasn't a hostile reaction, but it was like, okay, what the hell is happening?
Because then what happens is we see Alice, who's, you know, this discontented schizo housewife going mad and messing things up in the, you know, sort of pleasant world of victory.
She's now a surgeon.
She's a doctor. in the modern world and she finishes up a surgery walking down the hospital and she goes she lives in an absolutely shitty neighborhood Graffiti and I assume dangerous crime and all of that.
And she goes home to her absolutely shitty apartment where a thoroughly greasy and unpleasant Harry Styles is there.
And she comes in and, you know, the place is a shithole.
It's horrible. The neighborhood is dangerous and ugly.
And it's just it's a horrible dystopian nightmare world that is the real world.
We'll sort of get into how this split works in a second.
And she comes home, and he's on the internet, and I think he's listening to men's rights stuff or whatever it is.
She comes home, and there's dishes that aren't done, and it's horrible, and it's ugly, and it's gross and disgusting, and she says, because the dishes aren't done, she says, oh, is there still no hot water?
And he says, yeah, the guy couldn't come by today, and she gets mad at him.
And she says, okay, well, if there's no hot water and I can't shower, I'm just going to go to bed.
And he tries to be affectionate with her.
He tries to kiss her. And she, in an angry, frustrated, negative, horrible way, she pushes him away and says, I just did a 30-hour shift.
I have to be back in six hours.
I'm just going to go to bed.
So that's...
A pretty horrible life. Don't even get me started on why surgical residents are doing 30 hours of surgery.
I think she said, I just closed up 12 people, so I don't think she's a full surgeon, because then you'd imagine she'd have a decent place in a decent neighborhood, as opposed to this rainy, graffitied, crime-ridden shithole that she and Jack actually live in.
But that's the real world.
That's her real life.
And, you know, again, this is the spoiler stuff.
It's all a spoiler. So it turns out that the world of victory, right, this sort of 1950s Palm Springs, quote, idyllic world, that that's all VR. It's all a simulation.
And when all the men leave to go to work, they actually leave the simulation.
They go to work in the real world, and they pay the guy who runs a simulation to keep the simulation going and all of that.
And so... That's the big twist, right?
That it's a simulation and she's actually a surgeon.
And so when they have this fight back in the victory in the 1950s world, she's like, you know, you stole my life.
And he's like, but you were always miserable.
You're always working. You're always unhappy.
You hated your life.
He's like, yes, but it was my life.
And this is the big sort of conflict that And I don't know.
This is why I say it's a good film despite itself, which is, you know, he's trying to make her happy.
She's miserable and horribly exploited, like underpaid, working 30 hours straight, only gets six hours off, has to go back to work again probably for another 30-hour shift, like just unbelievable levels of you couldn't even imagine it in a free market kind of exploitation.
She lives in a shithole.
She works unbelievable hours at an incredibly stressful and dangerous job, but she gets six hours off between 30-hour shifts.
Like, this is monstrous. And she's miserable.
She's unhappy. She's angry.
She's, right? So his argument, I'm not approving or disapproving it.
I'm just saying his argument is like, look, in this other world, we have time for each other.
We live in a beautiful place.
We're not stressed. We have lots of great sex.
And in this other world, he wants a baby.
This is really, really important.
He wants a baby.
And she, of course, is hesitant in this, that, and the other.
So he wants a baby.
And in the world that is, the real world, right, where she's a surgeon or a surgical resident, or she's a surgeon...
And they live in a shithole neighborhood, in a shithole apartment, and he doesn't seem to have a job, although we know that he does have a job because he has to pay for the VR simulation.
So if he were to say to her...
I want a baby, she'd just scream at him.
She'd snap at him. She'd be angry at him.
Like, I just... I'm just starting my career.
I just finished medical school.
I'm a surgical resident.
This is it, man. I'm going to do this for the next 10 years.
Now, she's in... looks to be in her mid to late 20s, so...
until late...
she's got another... at least 10 years before he can even think about having a baby and then they're rolling the dice in the late 30s, right?
So, what's interesting...
Is that when he's in charge of her, so to speak, he controls her by putting her in this VR. When he's in charge of her, her life is, again, outside of the VR kidnapping aspect, outside of the moral aspect.
We're just working with the reality that each of them can create.
So when he's in charge, her life...
Whose life is worse? So when he's in charge, she has lots of sex, she has great food, she has great friends, the kids love her, and she's in a beautiful, lovely, sunny, pastel-colored, crime-free neighborhood.
So that's the world that he creates.
Now when she's in charge in the real world, she's never available, she's constantly unhappy, she's constantly angry.
They live in a shithole apartment in a crime-ridden, horrible, graffiti-laden neighborhood.
So when he's in charge, her argument is, I have no life, you stole my life.
When she's in charge, does he have a life?
When she's running things, she's the breadwinner, she's the major earner, does he have a life?
So what I mean by it's a good movie despite itself is that it's saying that if either partner is in charge, the other partner has no life.
Now, again, she doesn't mean that, I'm sure, but it comes through in the art anyway.
Right? It comes through in the art anyway.
Now, of course, she says, well, it's a miserable life, but it's my life, and so on, and you stole my life, and there's these weird memory wipes that happened that she can't remember her life before.
Like, none of this makes any sense, right?
Now, she wants to leave the simulation and never come back.
And he doesn't want his life with her.
Now, this is the result of people not making any productive or proactive choices.
I mean, listen, if you want to marry a woman who wants to become a surgeon, more power to you, right?
Fantastic. But you better be pretty consumed with your own life, and you better not care at all about love, connection, intimacy, and happiness with your partner.
So let's say that you're some crazy, hard-driving lawyer working 70 hours a week or 80 hours a week, and then your wife is a surgeon, a surgical resident.
She does 30-hour shifts with six hours to sleep, and then she goes back for more and lives on Red Bull.
Okay, then you both can have these careers, and you can go make a lot of money and never have any time to enjoy it or spend it, and you just won't have much of a relationship with each other, and God help you if you have children.
You won't have developed any You won't be able to model a happier, healthier, functional relationship for your kids, and you won't have developed the empathy skills that you kind of need to have a productive relationship and be a good parent or whatever, right?
So you can have all of that stuff, but what the problem is that it's mismatched, right?
So in the victory world, right, in the 50s world, they're putting their nest together for the sake of having children, right?
I mean, you understand this phase of homemaking without children was never supposed to last.
You understand how this works, right?
In the traditional way, in the 1950s, and of course, the 1950s that are portrayed in this, there's way more openness to sexuality.
There's a woman topless at a pool, which I just find completely bizarre and gratuitous.
Like, in the 1950s, there would never be a topless woman at a family pool.
A woman would be arrested.
So there's a lot more laxness around sexuality and even oral sex would have been frowned on to a large degree in the 1950s and so on.
And so there's like, I don't know, 1970s sexuality with 1950s aesthetic and, you know, the sort of really decadent 1970s key party sexuality that was occurring at the time.
And so it's kind of the 50s and kind of not the 50s.
But the whole point of this no sex before marriage, you get married, you have the honeymoon, is that this kind of homemaking without kids thing, it kind of lasts six or seven months until late pregnancy, in which case you're kind of consumed with pregnancy and nesting.
It's a very short period of life.
It's supposed to be this way.
Very short period of life.
You're not supposed to just live year after year With no kids, just running a household and getting oral sex from the singer of Watermelon Sugar.
Like, it's just not, it's not, I don't know, it's just strange.
It's a very short period where women are just homemakers without kids, without the challenges of raising kids.
And of course, the women as well are the social glue, social fabric within the neighborhood.
Someone's ill, parents get old, the women all band together and help and they're charitable.
There's lots of wonderful things that women do, at least used to do when neighborhoods existed and they weren't all bedroom communities where everybody worked during the day and their kids were in daycare and all of that.
So, okay, how is this resolved?
Well, So, after the electroshock therapy, Alice comes back into the VR world, into the victory company town.
And she's angry in this confrontation.
And her husband, Jack, the Harry Styles character, clings to her and doesn't want to let her go and is quite hysterical about losing this life that he much prefers to the shitty life in the shitty apartment where she yells at him and is gone all the time.
And so he doesn't want to.
And of course, this is where he can have his children.
The desperation that men have for children is something that is massively under-recognized in the modern world.
It's massively under-recognized in the modern world.
It's all like baby rabies and wanting to have kids in your 30s for women, but men have a desperate desire to have children, and women just won't settle down until they're used up or burned out or whatever in their 30s.
You know, I've had my fun, now it's time to get serious.
It's like, echo, echo, echo.
So it's not so much that he's desperate for her.
But he's desperate for a future.
So he's desperate to have contact with her.
He loves her so much, at least in this sort of scenario, that he's willing to put her into VR so they can spend time together.
Again, kidnapping, morally repugnant, I get all of that.
But if we're going to start talking about ethics, we'll get there in a second, right?
But in the 1950s world, that's the only world where he can have children.
That's the only world where he can be a father.
As opposed to just someone who watches his wife go to work and then pass out from exhaustion and then go back to work.
So there's no marriage, no wife, no life, no future, no children.
Now, he's of course portrayed listening to these terrible men's rights podcasts or whatever on the internet, and that's where Frank, the Jordan Peterson lookalike or soundalike guru comes from.
And it's like, okay, but why?
Why can't he talk to his wife and say, listen, I mean, this is nuts.
We're never seeing each other. And of course, the other thing too, you know, she's going to be a surgeon.
Of course, everybody knows it's going to be a crazy amount of work and all this and the other, right?
So, but she can't talk to her because she's never there.
And she doesn't want to talk to him because she just finds him annoying and clingy.
So she wants to serve strangers rather than Her own family.
I mean, this is the funny thing. Like, oh, the men just want to boss women around.
It's like, well, in the world that Jack creates, the 50s world, she's not really bossed around at all.
She's kind of in charge of everything.
She runs a household. She gets sex when she wants it.
She is in charge of the money.
And he has to go to work.
And she, you know, does some work at home, but not much because they don't have kids.
So... She's much freer.
In which world is she freer?
Again, taking the moral element out.
In which world is she freer? The world where she's forced by career.
She's forced to work 30 hours straight in a deadly dangerous job with massive negative repercussions if she makes a single mistake, lawsuits and all of that.
So 30 hours straight, 6 hours break, back for more 30 hours.
Isn't she much more enslaved in that world?
Then she is in the world where she's in the nesting phase prior to having children and her husband works for her and gives her oral sex without demanding anything in return.
In which world is she more enslaved?
Ah, but the men just want to control the women.
It's like, okay, he doesn't really want to control her.
He wants her to be happy in the 50s world.
How controlled is she by the hospital staff, administrators, and boss?
Like, she's got a boss at the hospital who says, okay, you've worked 30 hours, you get six hours off, now get the hell back here.
I've worked 30 more hours.
Stitching people up. As a surgeon, a surgical resident, whatever she is, right?
So this idea that She's bullied in the world where she's happy, has a lot of sex and great food and great friends and kids who love her, that she's bullied in that world, but she's somehow not bullied in the world of the hospital, where she's forced to work these insane hours in a highly stressful and dangerous job with no rest, no sleep. In other words, she's happy, and this is the great mystery of feminism.
It's like, look, we all have to serve someone.
I serve my family. I serve you.
I don't have all of this magical independence and can just do whatever the heck I want with no consequences.
That's like a toddler's view of the world, right?
Everybody's got to serve someone.
And it's always one of the great mysteries of life is that why women would rather serve a boss who doesn't care about them rather than a husband who does.
Like, there's no place in which women are not in service in the same way there's no place where men are not in service.
You've got to serve someone. Even if you're some, I don't know, guy living at home in the proverbial mom's basement, you've got to serve her happiness, you've got to do something that pleases her, or she'll kick you out.
This idea that she can be completely free of service to anyone, I don't understand it.
I have no idea what it means, other than it's a toddler, like a baby thing.
Maybe it's unfulfilled baby stuff, like for Louis Staten in my novel, The Future.
It's just weird to me.
Well, I don't want to be bossed around, so I'm going to Be stuck in a hospital where I have to work 30 hours straight and only get six hours to sleep and then I have to go back because I want to be bossed around.
It's like, what does that mean?
Of course you're being way more bossed around in the hospital than you ever would be at home.
Ever. I mean, that's all propaganda, right?
The government wants women to work because they can tax women's work.
They can't tax being a homemaker.
They want women to work because then women put their kids in daycare and the government gets to control propaganda and how they're raised.
So it's all a bunch of propaganda.
And the idea that she's breaking free of VR by succumbing to government-empowered work-till-you-drop propaganda, which serves the state.
Also, if women are working, they can be taxed.
And if they're not having kids, then the government doesn't have all the expenses of kids, right?
Of, you know, the dental care for kids, the health care for kids for a lot of places, for socialized medicine and so on, providing education.
That's all a cost, right?
Yeah. So if you can get women to work and not have kids, it's hugely beneficial for the economy in the short run.
And it doesn't make any more money for the family because women pour into the workforce.
They just drive down the wages for men, right?
So it doesn't really do any of that sort of stuff.
So the fact that she's happy being insanely exploited by her boss at the hospital and miserable building a house and a family with her husband in a crime-free neighborhood...
I mean, that's what's so wild.
Is that...
Well, I guess literally wild.
Olivia Wilde, right? That the writer...
Silberman, I think, was one of the writers.
It came from Dick Van Dyke's Grandkids, the story originally.
Then it changed a lot. Because Silberman, the woman who rewrote the script and changed a lot, was also doing the last movie with Olivia Wilde.
I didn't see it. But the idea that they've escaped propaganda, that they see things clearly...
I mean, it's mad. It's completely mad.
And they don't give him...
Like, Jack, in the real world, where they live in the shithole apartment and they never see each other and she's angry at him all the time, he says, look, you're not happy.
But they don't give him the...
Like, why would you want to serve an administrator?
Why would you serve a mean boss at the hospital and not your own...
Well, I want to be independent.
You're not independent. You're working 30 hours straight, 6 hours sleep, go back for 30 more hours.
You're not independent. You're not free.
You're a slave. And it's certainly next door to slavery, the crazy stuff that goes on in hospitals with doctors, and it's just mad.
It's completely mad. You can't drive, what, more than eight hours or seven and a half hours in a truck, but you can do surgery 30 hours in.
It's mad. It's absolutely mad.
So it's very, very bizarre.
And they can't see it at all.
They can't see that she's way more enslaved in reality than she is in the VR. Now, I get that the VR is a form of enslavement, but I'm simply talking about the worlds that are being contrasted, right?
So, yeah, I mean, there's a woman who's hallucinating, but she's actually right.
God, Midsommar, Rosemary's Baby, the movie Gaslight, of course, the Stepwood Wives, and it's all just...
Ugh. It's vanity.
I'm right no matter what. I'm right if I see things and nobody else can, I'm still right.
That's part of the craziness that happens with all of that stuff, right?
So the fact that these men are drugging their, quote, wives and plugging them into VR and all of that kind of stuff, it's a world of horrifying exploitation and desperation.
It's thoroughly evil and immoral, and I get all of that.
None of it makes any sense at all.
I mean, if this woman is in fact a doctor, wouldn't...
Someone noticed that she didn't show up for work anymore?
Wouldn't her family or friends or anyone care?
Wouldn't the police come by and question the husband?
This makes no sense.
And how do they stay 24-7, the women, in a VR world?
Don't they need to go to the washroom?
Don't they need to feed? Don't they need to exercise or move their bodies at all?
I mean, it's just completely bizarre. But, you know, I know that there's a certain amount of suspension of disbelief, but you could at least try to explain some of these things at all.
So, I can get into a bunch of other stuff that doesn't make any sense, but, you know, just in the interest of time, let's get to some of the more major themes.
Now, the female anger towards the male, right?
So, Alice, the surgeon, chose Jack, the predatory, horrible enslaver of her in virtual reality, right?
Now, in the...
VR world, it's very clearly and carefully explained that if a man dies in the VR world, he dies in the real world.
Now, that's just a standard thing that was started with The Matrix and maybe other movies too.
It's just to raise the stakes, right?
So that you don't end up in some, oh, I expect you to die.
Oh, I died. Okay, I'll just reboot and, you know, all that sort of stuff, right?
Forever War stuff.
So... When in the world, like after she realizes she's in VR, she comes back into VR, Alice, and she says, you know, have this confrontation.
It's horrible. I'm leaving. I'm never coming back.
And her husband is clinging to her and doesn't want her to go.
Doesn't want her to leave. And he's sobbing and crying out, and he doesn't want to go back to that world of the shithole apartment, never seeing his wife, and no sex, no love, no affection, no future, no kids, no nothing, right?
He doesn't want to go back to that world. And again, we can very clearly talk about the immorality of him drugging and VR-ing his wife, but we can at least understand why he doesn't want to go back to that world, right?
So he's holding on to her.
He's clinging to her. And she murders him.
Straight up murders him. Now, it's not presented as this awful, terrible thing.
It's like, well, obviously she had to kill him.
He was being clingy. Now, again, I get, you know, he stole some life from her by putting her in the VR world and all of that.
But she's not in a situation of immediate self-defense.
She's not in a situation where he's going to kill her because apparently you can't kill women in VR. And this is sort of a nod to male vulnerability, which is never talked about, right?
Can't talk about male vulnerability.
All women who are unhappy are victims that everybody must pay attention to.
All men who are unhappy are creepy incels that should be mocked and scorned and humiliated by everyone, right?
That's just the tragic male disposability world that we live in.
And it's all part of the propaganda, which they can't see through.
So he doesn't want her to leave.
There's no negotiation in particular.
There's no, you know, she doesn't say, look, I love you.
I married you. You did a horrible thing to me.
You put me in this VR world, but let's at least talk about it.
Then let's try and figure something out.
Maybe I can work less. Maybe we need to divorce.
Maybe she doesn't try and negotiate her way out of it or talk her way out of it.
She just kills him. She just straight up kills him.
And then the Asian wife of Frank, the Slightly creepy, charismatic leader of the world that they're in.
She stabs him and says, it's my turn now!
And I don't know what that means.
It's my turn to have a life and we have no idea because she's defending him and supporting him the whole time and then she turns around and stabs him.
And that's because he's a bad guy.
He's Jordan Peterson, so to speak.
He's standing up for men who are alienated and exploited by society and oppressed by society.
And so he's just got to die, right?
Because murder, murder, straight up murder.
And there's no indication that she knows what's going on or that she's awakened to anything because he's having this ambiguous conversation.
He doesn't say, oh, it's all the VR and I've kidnapped everyone, right?
So she just stabs him.
Now, he has enough abs.
You wouldn't think the knife would get through, but apparently it does.
And, you know, it's a fatal...
So, murder. Murder.
She doesn't say, why did I choose a guy who kidnapped me and put me in VR? How can I try and understand a man I love that he was driven to this kind of desperation situation?
No, just murder.
And she doesn't really seem to have any remorse for murdering the husband she claims to love.
Just as the other woman doesn't have any remorse about murdering the husband she claims to love.
So the murder stuff is creepy as shit, honestly.
It's really destructive and dysfunctional.
It's creepy and horrible.
Now, of course, it's creepy and horrible that the men put the women into the VR because it shows a complete breakdown in communications.
A complete breakdown in autonomy.
Now, you could say it's a twisted and desperate form of love and blah, blah, blah, but, you know, you can't kidnap people and put them into VR and not tell them, right?
It was creepy and horrible. Is a solution murder?
Well, I don't think it is.
I mean, she could just wait till she could fake it, wait till he's asleep, and then just take a car and drive out.
She knows how to get out of the VR because she learned that when the plane crashed.
And again, the plane crash makes absolutely no sense.
Why would the plane crash be in VR? Why would the plane fly down to exactly how she gets out of the VR? Like, it makes no sense.
You wouldn't program something like that.
Here, by the way, you're trapped in a VR, but here's something that's going to lead you directly to the exit and get you out.
It's like, that would never be programmed into the VR. It can't be real because it's all a VR. So it makes absolutely no sense whatsoever.
But they needed to get her to the exit.
They needed to get her out of this. And why is she even going to the end anyway?
Why is she even going to the exit anyway?
To the end of the bus line. Do you ever just sit there and say, well, I'm kind of bored.
I think I'll just ride to the end of the bus line and have it turn around.
It's very, very, very bizarre.
And so she's angry at him, she kills him, shows no remorse, and escapes, and at the end of the movie is dancing happily.
I mean, it's a bit of an ambiguous ending, but it's pretty clear.
She wakes up, you hear the gospel, she's waking up, and she's dancing happily.
So yeah, ladies, you know, if you find your husband oppressive, or, you know, because you prefer the hundred times more oppressive boss who forces you to work like a slave, just kill him, and you'll be dancing in your apartment, and everything will be wonderful.
Wonderful. It'll be just great.
So she chooses her boyfriend.
She chooses her husband.
She chooses to be mean to him.
She chooses to ignore him. She chooses to work all the time.
And she's still a complete and utter victim and gets to murder him.
And that's totally fine. It's totally great.
Totally great. Now, again, I sort of talk the communist thing.
You get red-suited thugs. So it's interesting because she says about her life in the future, it's my life, right?
She says, he says, but you were miserable, right?
You were exploited. You were subjugated.
You were like a slave. I mean, I'm sort of paraphrasing and inserting things here, but that's sort of this basic argument.
You were enslaved and you were miserable.
And she says, yes, but it was my life.
And I would question that.
I would question that. You've got to go to college.
You've got to have a job.
You have kids later.
Don't be a broodmare.
Don't serve the patriarchy.
Go to work. Pay your taxes and all this sort of shit.
That's just another kind of VR. What if the doctor life is real?
All the propaganda that has her enslaved, in debt, living in a shithole, barren, unhappy, miserable, exploited, overworked, no sex, no life, no romance, no future, no children, no nothing?
That's just another kind of VR. Propaganda is VR. She's not free to be in love.
She's not free to relax and enjoy her life.
She's not free to spend the money she's earning.
She's not free to have children.
She's not free to be in love, to be loved, or anything like that.
God! I mean, if you want to talk about being enslaved, think of, you know, Alexander Solzhenitsyn's The Gulag Archipelago, right?
Like the slave camps.
The slave camps under communism or fascism or national socialism or whatever, right?
The slave camps, right? Think of that.
Wouldn't that be kind of like this Soviet work schedule she has in this horrible shithole of a hospital and a neighborhood?
So that's the life she wants where she's enslaved to that degree.
Whereas if you compare that, exhausted, debilitating, alienating, living in a shithole, no life, no future, no children, you think of that life versus her life in this 1950s, I mean, quote, paradise, where she's loved, she has great sex, she's relaxed, she's got great friends, she's got kids who love her in the environment, her husband wants to have children, right?
So, let's just close off with the 50s, this rage fetish that leftists have for the 1950s in America.
Well, it's pretty clear, right?
So, American Christians tend to be small government, constitutionally limited republic, and they tend to have a lot of kids, they tend to have a lot of community, they tend to be pro-free market, and all of that kind of stuff, right?
And so for the leftists, particularly the hard leftists, the nightmare decade was the baby boom of the 1950s.
Post-Second World War, you had four kids per family.
So the people who opposed communism, who opposed half-leftism, were breeding like rabbits.
And so you can't have that.
That's no good in a democracy because if the people who oppose your ideology are having a lot of kids, those kids are going to grow up and vote your ideology out of power.
You can't have that. So you have to counter by saying, ah, yes, but it's not real happiness.
You're just a broodmare. It's horrible.
You should be a surgeon. You should work.
And of course, the number of men or women who have the skill, IQ, drive, and dexterity and ability to become a surgeon is like one in 10,000 people.
Right? It's like saying, oh, you shouldn't have a job.
You should be a motivational speaker.
But the number of people who can actually become motivational speakers and make a go of it and succeed at it is like 1 in 10,000 people.
There's a whole bunch of skills that need to all come together.
You need to have original things to say.
You need to have a good sense of humor.
You need to be powerful at public speaking.
You need to be a great writer.
You need to have contacts. You need to be organized.
Like, it's really tough. It's really tough.
Otherwise, everybody would do it. It's a pretty fun life, I would assume, right?
So... The hostility towards the 1950s is the hostility towards the American Christian birthrate that tends to be skeptical to or oppositional towards hard leftism and so on.
So it's just got to be demonized.
And, you know, of course, if you're a leftist, and I don't know what Olivia Wilde is, but I assume she's sort of left on the spectrum, or maybe just on the spectrum as a whole with those giant almond eyes and this alien face.
But anyway... If you are more on the left, shouldn't you be horribly opposed to this woman being unbelievably exploited by the hospital, working 30 hours straight, 6 hours sleep, back for 30 hours more?
Wouldn't you be horribly angry and appalled at that exploitation?
Well, she's not. That's the life that's good.
That's the life that's wonderful.
That level of exploitation is wonderful.
And... The world where she has a lot of sex, a happy life, good friends, kids who love her and she's going to have a baby, that's a nightmare scenario that she has to murder the man to get out of.
It's kind of psycho when you think about it, right?
It's really kind of psycho. And it's really just about the demographics of voting.
Again, American Christians tend to be, lots of exceptions, but tend to be pro-free market, anti-communist, pro-small government, and so on, right?
So yeah, the hard leftists really have to attack the decade wherein the women were having a lot of children who would grow up perhaps to outvote them, and of course then they had to work very hard in the 1960s to corrupt the kids through various amounts of propaganda.
You've got to corrupt the women to get them into the workforce.
You've got to corrupt the kids with sex, drugs, and rock and roll.
And other things, and that way you can try to prevent the nightmare scenario of being outvoted, but you want to gain more and more power in this kind of way.
So, yeah, that's my thoughts about the movie.
Is it worth watching?
I think it is. I think it is worth watching.
I'm not sure I want to put a whole bunch of money into these people's pockets, but Chris Pine is fantastic, as always.
Flo Pugh, I think her name is.
She's really, really good.
Olivia Wilde, well, it doesn't make any sense.
The whole thing is like, you can wipe the memories of people going into the VR, but she remembers that her children are dead.
And in the real world, this is why she has kids in this alternative world, because she just wants to spend time with her kids, even though...
She doesn't spend any time with her kids and doesn't seem to like them at all.
And none of that character makes any sense, like even remotely.
But she's, I mean, I guess okay.
But it is really fascinating to see this level of hatred to a world that has some really positive aspects to it for the men and for the women.
So I do think it's worth watching.
I think you want to stay alert to the propaganda levels.
And you're just basically popping out from one artificial reality called VR to another artificial reality called...
Work till you drop and don't have baby's enslavement of the feminine.
And you, of course, have to see that the alienated, right?
What is it that Marxism is constantly talking about?
Worker alienation. Alienation, bad for the mind, bad for the body, bad for the soul, bad for the system.
And yet the men who are alienated just get attacked.
And so, yeah, it's really interesting to watch.
I think it's beautifully shot.
The music is completely overbearing and obvious, and the dance sequences are just incomprehensible.
And it's like, well, we're showing women getting exploited.
It's like, aren't you exploiting them, you know, with all these cool dance moves and so on?
It's like, well, and you ask yourself, which world do you want to live in?
It's not as simple as these or the other, but both are VR worlds.
One is VR through technology.
The other is VR through propaganda and all of that.
And I think it's a really interesting movie, and I'm glad that I saw it.
I hope that you found the analysis interesting and helpful.
I'd love to hear what you think. FreeDomain.com forward slash donate to help out the show.
Really, really appreciate it. And now I'll go do my couple of hours of edits and cleanup and normalization and uploading.
So, lots of love from up here.
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