Dec. 21, 2025 - Freedomain Radio - Stefan Molyneux
01:31:33
The Housemaid: Movie Review
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All right, so we are here.
There's going to be some spoilers here.
And this is a plot-driven movie.
So if you haven't seen it, don't listen.
Or if you're going to see it, don't listen.
But this is a movie called The Housemaid.
And I'm going to repeat the joke for the third time, which is that it has two major stars, Sidney Sweeney.
All right.
Yes, it does.
Yes, it does.
So it's Sidney Sweeney, Amanda Seyfried.
I don't know.
Is it Safe Ride or Saifried?
Seyfried.
Seyfried.
Okay.
Safe Reed.
Okay, it's Amanda Seyfried and Buttocks Man.
I can't, like, literally, I came home.
I was driving home.
I saw not one, but two moons in the sky as a result of this guy, Brandon Sklenar.
So we got Sidney Sweeney, Amanda Seyfried, and Brandon Sklenar.
It's basically a three-hander, though, of course, there's minor characters in there as well.
And it is glorious trash.
It is pretty people in pretty houses doing bad things.
In between lunges and sit-ups, they're just doing bad things.
The characterization is not, I would say, super deep.
We're not getting to Hamlet levels of self-revelation here, but it is a thrill ride and a half.
I think it's fun.
I think it's funny.
They don't take themselves too seriously.
And I thought it was really just kind of delicious.
Like, it's like, like if you find candy as a kid, you'll eat it, right?
I mean, mostly.
Unless it's been driven over too much.
And this is just like finding candy as a kid.
You'll eat it.
It's not good for you, but boy, does it taste good?
I couldn't agree more.
They did a great job in that sense.
This is what they aimed for, and they did it.
It's good.
What were your thoughts, initial impressions, James?
When it first started out, I'm like, oh, this is kind of a serious movie.
I didn't really know what to expect at all.
And I'm not a huge movie guy.
And then they got to the point in the middle where, again, spoilers, as you said, the wife gets Nina Winchester is a character named Amanda's character.
Leaves the house.
And I looked at my watch.
I'm like, oh, an hour in.
Okay.
So it was, but by the end, I'm like laughing at how ridiculous things are.
But it's also, it was enjoyable as well.
Yeah.
Yeah.
So my sort of history, the reason why I even noticed the movie is that, and I mentioned this in the show today, but I'll touch on it here.
Not everyone listens to everything.
But in my family, we will pick novels to read to each other.
And we try to dig in and do all of the voices and all that kind of stuff.
We just finished, we did some Adrian Moll.
I just did the Goodbye Mr. Chips, sort of an old novel about British school.
And last year we did this book written by a woman named Frida McFatton, who I think was like a doctor or neuroscientist or something like that.
And she is a good writer.
So what was that thing here?
I just wanted to.
Yeah, she's really well trained in this kind of stuff.
She writes very interestingly because she writes a chapter from each character's perspective.
Oh, okay.
So it's one chapter is the young woman, then the other chapter is the neurotic housewife, and then there's the husband.
And so she kind of weaves it all together, and it's really skillfully done.
I mean, this woman's got to have wall charts like a paranoid conspiracy theorist.
And she writes it, reads it together really well.
And they did that in the movie wherein, and it's a tough thing to do.
There's an old John Fowles novel sort of written in this way called The French Lieutenant's Woman, where it's sort of written from various characters' perspective and so on.
And the way that they solved that in the movie was they had a movie about the book and the characters in the book acted one way, and the actors in the movie acted a different way.
It was really quite trippy.
But it's a very interesting way.
It's a very complex way of writing a story.
And so I read that one with my wife and daughter, obviously somewhat sanitized.
And we enjoyed it in particular because there's a fairly minor character who makes zero sense, like gloriously makes zero.
They didn't even try to give Enzo.
Enzo, he's a gardener.
He's an Italian and he's very swarthy.
And he's very got the hairline like a chimpanzee and he's very low down.
Eyebrows are meeting.
It's just like, and so we poured heart and soul into my rendition of Enzo in the book, who's got a bigger role.
And then he ends up turning out to be like there's a series of books.
He ends up being sort of a major character down the road.
So we had a lot of fun reading this book, like laughing until tears came out of our eyes.
Because what we do is we read a chapter and then we'll sort of discuss what do you think is going to come next or what do you think is going to happen next?
And whoever's right gets a prize.
So we sort of make it a lot of fun to read this kind of stuff.
And so we had a lot of fun with this book.
Of all the books we've read, this was probably the most fun one to read because I can never read Goodbye Mr. Chips without getting kind of emotional.
You know, which teenagers love.
They love it when their parents get emotional.
It's delightful for them.
So this book was good, good old candy philosophy for the brain.
And so when I knew it was going to be made into a movie because it's a really good story.
I've read some of her other books.
They're not bad, but not as good as this one.
And so I was really kind of looking forward to this.
And I would say it does not care about the characters.
It does not care about the characters at all.
They're so unbelievable.
Like, yeah.
I mean, Sidney Sweetie's character has just spent 10 years in prison.
Does she seem to have any problems whatsoever?
None.
Absolutely.
Really?
No.
None.
She's emotionally available.
She's sweet.
She's tender.
She's great with children.
She sleeps well.
She's got no problems at all.
And also, having spent 10 years in a tiny cell, she has no problem, no problem at all living in an attic, a tiny attic, which locks from the outside after the outside.
With a tiny window.
I mean, you'd think that she'd be like, and I love how the director didn't even say to the actress, listen, you've got to show some hesitation about going in.
Nope, doesn't matter.
But the 10 years in prison is simply a plot device.
Yeah.
Which is why can't she get away?
Right.
So, so that's, I love the fact that nobody seemed to notice this.
These kinds of things just, none of it made a lick of sense as far as any of that goes.
So the plot devices had no psychological impact on anyone.
And it makes sense.
Like, this is why she's got to keep the job.
Because, you know, one of the problems with these kinds of captive stories is, well, why is she there?
Why doesn't she just quit?
You know, like it's the old thing with horror movies, you know, like, why are you following the bloody footprints?
Just go to go to safety, right?
And so screaming.
So it's just a plot device.
It has absolutely zero impact on her whatsoever from a psychological here.
Hey, you've just spent 10 years in prison.
Here's your new prison cell.
She's like, yeah, sounds good.
Yep.
Love it.
I love it up here.
Fantastic.
And so I just, I love the fact that they just completely abandoned any psychological realism whatsoever.
But then, of course, I push.
Sorry, I push back on that.
A touch because she did like it's not realistic, but she was like, ooh, that window's small.
Can we get that window to open?
It'd be really great.
So there was like, I maybe an effort at that.
Yeah, no, that's that's a fair point.
That's a fair point.
But they also, that's also a plot device, which is that you can't get the window to open.
So she can't call for help kind of thing.
But of course, Enzo is like, I'm here.
My sister, my sister was killed by American.
And he's like, but he never checks up on the window.
Never.
Yeah.
Never.
Never glances up at the window where this woman is going to be captive because he knows she's up there.
Anyway, and like, why is Enzo?
Like, they live on an acre.
Why is Enzo perpetually the groundskeeper?
It's like, you're not, you're not the English aristocracy, right?
This isn't, this isn't downtown Abbey.
This is like a half an acre of land, but apparently needs perpetual tending by a male model.
Sorry, go ahead.
Especially during the winter.
Especially during the winter.
What's he doing in the winter?
Right?
Well, we're going to have the turnips.
The turnips are going to be for your winter crop.
I know.
I thought it was just delightful.
Just Enzo makes absolutely no sense.
But so I thought that.
And Sidney Sweeney, okay, let's just talk about the looks for a sec because I find her looks kind of interesting.
Obviously, very nice figure.
And, you know, nothing spells like having a perfect figure and flawless skin, like living in your car after 10 years in prison.
Nothing.
Like that is the ultimate makeover.
You can be, you know, drop dead gorgeous from a thousand paces.
You just have to go through the 10-year in prison.
Well, I suppose she wouldn't have got a lot of sunlight.
So her skin wouldn't have aged.
But so I thought that was and she's interesting too because sometimes she looks fantastic and other times she looks totally mid.
And look, to talk about her looks is not shallow because we're going to talk about Mr. Brick Butt look as well.
But that's why it's not shallow.
It's not shallow because we're going to be look, it's equally, it's equal opportunity shallowness in every way.
We are puddle deep at this point.
That's something my wife pointed out.
She's like, well, they had to have his butt in there because they had all these women's boobs all over the place.
I didn't see any of that.
All I see are pixels because I'm married.
So it's just very broad.
Very broad.
It's all Minecraft.
Everything but my wife is all Minecraft for me.
It's just something that happens when you put the ring of power on.
But there, okay, let me ask you this because there are some actresses and actors too, but it's talking about actresses.
They look good from every angle.
Like they don't have a bad angle.
I'm thinking like, I mean, obviously the classics like Grace Kelly and Audrey Hepburn was another one of these actors.
Like long hair, short hair, pixie cut, every angle.
Like you could literally put a camera on her chin staring straight up her nose and it's like gorgeous.
So there are some actresses who look like Anne Hathaway's like that way, right?
Ann Hathaway, like anime girl.
Yeah, she is because she's got the Amanda Savory bug eyes.
Yeah, yeah, yeah.
Like any larger and she can see through time.
Those eyes were just astonishing.
Like, are you, are you surprised and startled the whole movie?
Because she's got those neotany anime baby eyes.
It's just wild.
But yeah, so Sidney Sweeney, she just veers between looking fantastic and also just looking kind of mid.
And I actually, I like that look.
I think it's actually because it's more accessible.
Like some of the Grace Kelly beauties, they or I think Sandra Bullock has that kind of look.
She doesn't really have a bad angle, but it's completely non-aristocratic in a way.
Like I always thought of Grace Kelly.
Of course, she literally married a prince, right?
But that sort of aristocratic beauty, the sort of Hedi Lamar stuff, is, you know, it's lovely, but it's kind of distant and in a sense, unattainable.
What I like about Sidney Sweeney is she has both girl next door and you know, like screen goddess looks.
And I don't know why it is that way, but she has a face that looks like it's assembled in a sense because it's got sort of wedges.
And I was just looking and saying, okay, there's like not continuity in how her face looks.
I don't know if this is making any sense, but it's like if you got a bunch of clay together and we're three-quarters of the way towards doing a beautiful face and then like, eh, that's good.
That's good enough.
And it's a look that really works.
And she's a good actress.
I think I've seen her.
Did I see her?
Oh, God.
I think, oh, I went to see Mrs. Madam Webb, which was wretched.
And she played some character in that.
Also dressed down.
She dresses down and dresses up.
Like, she literally is Superman.
Because you know how Clark Kent is like, well, he's got glasses on.
I can't recognize him.
And with Sidney Sweeney, like when she's dolled up or when she's just like sitting there with glasses, it is like too completely like you aren't even siblings who are related.
So she's got, I thought she looked better dressed down.
And then when she was dressed up, that's when she looked more like, to me, like mid dressed up.
You know, that could just be me.
Yep.
But I also think partly is that the way she holds her face, I think she knows what she's doing.
You know, like you said, she's a good actress.
Yeah.
So I thought that in the sort of level of high drama when she's breaking the cups outside of the room, I thought the fact that they undercut it with just some comedy, that's not an easy thing to do.
Like she just, the way that she was talking was just funny.
And I thought that was really cool.
So she has that sensitivity.
She lights up the screen.
She's got oodles of charisma.
And the other thing, of course, I remember, of course, and when this is when you learn to trust the writer over time, because if you are a really high-strung neurotic woman, this is the Amanda Seyfried character.
You're a really high-strung neurotic woman with the figure of your average stick insect.
And then you hire this, you know, curvy, hot, young blonde to be your maid.
And it's just like, oh, come on, this is like completely unbelievable.
Women would never, a woman would never do that, especially if she's having trouble getting pregnant, right?
She's not going to hire some uber-fertile.
Like, I mean, Sidney Sweeney has all the fertility markers of your average Amazonian rainforest.
The idea that you bring her into the house with your hot god husband and like, oh, you know, you guys should totally hang out and watch, God, what was the game show?
Family, Family Feud.
Oh, yeah, you guys should, you guys should totally lays around and eat popcorn in the middle of the night.
But of course, then it makes sense that she's trying to get herself replaced and she's trying to get out.
So that made sense later on.
I thought that was brilliant.
Like, to me, like the first half of the movie, it was all plastic characters, all plastic acting.
Like, there's no dimensionality.
It's just like it was a step above a cartoon.
And I'm just like, kind of like, what's going on here?
It wasn't uninteresting, but it was like just plastic and inauthentic.
And then whenever the masks dropped, the masks came off, you know, and he was the last one.
Because as I'm watching it, I'm like, because he's so perfect.
He's so like, absolutely like everything, the way they present him.
He's just the nicest guy.
He's got money, wealth, charisma, everything, you know, looks.
And he's thoughtful, compassionate, empathetic.
And but I'm just like, okay, what's his dark side?
You know, and once the mask dropped and everything kind of came out, it, I didn't have that moment of like, you know, I had to like cringe to get past something.
You know what I mean?
To be like, oh, no, what do you mean?
Okay, so like sometimes there's a plot device or something like that that just makes so little sense that you're like, okay, whatever.
For the sake of the story, I'm going to ignore, you know, for the sake of enjoying this, I'll ignore that glaring pothole.
It's the suspension of disbelief like hanging Mussolini.
Okay, got it.
Right, right, right.
And in this, they managed to have this just house of cards of falseness that was entertaining and well done and maintained for a long time.
And when it fell away, it made things better, more interesting.
You got the depth without having like they had to have some horrible breaking changes.
I thought like it was just great storytelling.
They did a great job with that.
It is great storytelling.
Yeah, for sure.
So then the question is.
Oh, what was the name of the guy?
I remember the name of the actor, but what was the name of the character?
Oh, gosh, what was his name?
That's Bob or Jim or Dan or somebody.
I think it was like, you wouldn't want the actor to do more than one syllable.
Oh, that's just a jealous of his looks kind of joke.
It really is.
It's sad and pathetic.
The main guy?
Andrew.
Andrew.
Yes, that's right.
So this is the question is that could Andrew, could Andrew make you gay?
Could look, I'm not saying would he.
I'm just saying, okay, let's put it another way.
If you had to be gay, would you choose this guy?
Wouldn't be my last choice out of pride.
Wouldn't be a last choice.
Yeah, because I mean, listen, if God has two ice cream scoops, that's the male buttocks he's going to make.
That is my basic experience of it.
Bro, could, you know, hey, you need to change a high light bulb.
You just step on the top of his buttocks.
But I just thought, and I got to tell you, it's just an older thing.
Like, you know how most people have like, you know, minor sort of depressions or not exactly bags under their eyes, but you know, you can tell that they have human sleep at some point.
Bro had like zero of that.
I don't know if that's plastic surgery because he seemed to have a somewhat animated face, but it completely flawed.
Like great hair.
That hair, you know, the kind of hair I knew a guy like this when I worked up north.
We threw him into a pond, sort of when we were doing wrestling as a joke.
And he got out and his hair dried perfectly.
Like literally perfectly.
And I used that actually in my novel Almost.
But yeah, I mean, he comes in and he's like a tank.
He's like hugely muscled.
Yeah.
And yet, you know, and a big frame with a flat belly, because that's a really uncommon combo, right?
You normally get that Brad Pitt kind of a skinny frame with muscles, but the guy had a flawless physique.
And I always love how these guys, that's four hours a day in the gym.
I think.
I think, you know, sort of reading the stuff off from Schwarzenegger and Stallone in the past.
He was capital egg drop fodder.
I mean, just capital what?
Egg drop fodder?
It's a joke I make.
Like make a lady wanted to lay an egg.
Oh, egg drop fodder.
Now, Jared, just because we're speaking to a general audience, I don't want you to feel any pressure whatsoever to explain yourself in human terms.
Just I need you to lower your syntactic.
What was the guy the other day in the show?
I can lower my syntactic standards or something like that.
Oh my Lord.
Yeah.
So you just play your cards close to your chest because it's always fun for people to have to guess at what.
So egg drop fodder.
Yeah, he was.
I mean, he's got that calm voice.
He always takes her side.
He's got this giant bulky build, his tousled hair.
And always in Freedom McFadden, she has these writing ticks, you know, and one is he smiled in a crooked fashion.
A crooked smile is apparently ambrosia to women.
And also the guys are constantly running their fingers through their hair in exasperation, in lust, in whatever, always running their fingers through their hair.
So that is.
But yeah, a guy was like a brick egg drop fodder.
And if I woke up tomorrow and I was gay, I would stalk him.
I think I would stalk him.
And I'd know where to find him, which is not in a boardroom doing a data processing job.
You always know when it's a woman who's writing because the man's job is like Chandler's in Friends.
The man's job is completely undefined.
I do boring data processing.
However, the boring data processing gives me the physique of a Greek.
I'm a CEO.
It's like the 50 Shades of Grey guy.
I'm a CEO and I have six figures and a six-pack.
And I just think that that is, in China, they've actually banned these stories.
So in China, apparently there are these plethora of stories of like gorgeous CEOs choosing mid-women, right?
Because like Dakota Fanning, is it Dakota?
No, not Dakota Fanning.
Don Johnson's kid.
I can't remember what her name is, but she's in Dakota Johnson.
50 Shades of Grey.
Anyway, she's, I mean, she's, you know, a pretty girl and all of that, but, you know, she's sort of played down.
It's kind of it.
So all of these drop dead gorgeous, like one in a million, these are one in a million guys who would be very wealthy and great physiques and all of that and handsome and great hair and like all of that.
That's one in a million guys.
And so in China, they've had to ban these stories because it's kind of killing the birth rate.
And it is completely horrible for women, like to to say to them, you know, this gorgeous, brilliantly wealthy guy.
Like this, this is a woman just out of prison.
Now, I don't know if you've ever spent time around people who've got criminal histories.
I haven't spent a huge amount, other than like present company accepted.
I haven't spent a huge amount.
But when I worked up north, we worked with some pretty rough characters.
In general, women who've just spent 10 years in prison for murder, they don't come out and get like Hunkasaurus CEO, six-pack guy.
They just don't.
They don't do anything.
They barely have any social skills.
They're not great with kids.
They're pretty traumatized from having spent 10 years in prison.
Sorry, go ahead.
Just missing a single mom.
Go on.
To the sake of the story, though, if he's her, she's his prime prey.
She's got the markers that allows him to do like the psychological, twisty, weirdo stuff that he needs to trap her.
So I could kind of see it in that regard.
But I see what you're saying for the story.
But I, sorry, I'm deviating from where you're going with this, where it is just, it's, it's, it's nasty poison for women, the kind of story.
Oh, it is, right?
So you can be a sort of sweet, accommodating, perfectly mentally healthy, attractive, lovely, great with kids, knows what to say in every social situation after spending 10 years in prison.
When you went into prison, when I assume she was like 19 when she went to prison, because she was in university.
And the other thing, too, is like, it's not what's not explained is, and this is why it's so gloriously like everything for the plot, nothing for the character.
So the reason that she's in prison, of course, is she beat a guy to death who was sexually assaulting a woman in a dorm room with an unlocked door.
I mean, like, I mean, it's all gloriously like, that's not how it goes down.
That's not how it goes down because the girl could just cry out and she would.
And so this whole setup was unbelievable.
And the sort of female rage stuff, because she's a villain.
Like, okay, the guy was sexually assaulting a woman.
That's terrible, evil, awful.
And I have no problem with her hitting him on the head.
But then she just kills him.
Like completely unnecessarily.
I mean, she should have restrained herself, let the justice, let the law take its course, let justice take its course because there would be witnesses and so on, right?
Yeah.
And And I think she said that the woman, what was it that did with the girl backtracked on her story about whether it was assault or something like that?
I don't know.
I think she said that she didn't support her at all.
Didn't support her, right?
So I think, so here's the thing, too, is that she could have been sexually traumatized as a child or assaulted or something like that.
And then she beats this guy up, but she could have mistaken what was happening.
Right.
So, I mean, there are, I think it's weird to be straight up front, but, you know, there are people who are into rape role-playing.
There are people into a sex play that's very aggressive.
Oh, yeah.
Right.
So, so she could have come in and mistaken it, and she could have just killed a guy who was doing some, you know, creepy but consensual.
You know, consensual is the key thing, role-playing.
So they have to make her that she killed the rapist, which, you know, I wouldn't want the guy's death, but, you know, you should kind of let the law take its course for the very reason that you could be killing somebody by mistake.
Right.
So she's kind of a villain, and we don't know why she is that way.
But so that's obviously a big negative.
But she's, again, just sweet and sexy and knows the right things to say and do and all of that.
And I thought that, and this is the, this is the junk stuff, right?
But the sexual undertones is glorious in this movie in that you have a super hot guy who's dedicated to his wife.
He loves her so much.
He's so capable of dedication that he'll stick with her even when she can't have children, even when she's crazy, even when she's abusive, even, even, even.
And it's just like, so that's a guy who's like super loyal and super dedicated.
So that's, of course, ambrosia for women.
And then it's like, and then you have the hot young thing who is super fertile, you can give him children.
And he literally says, I want an entire baseball team full of children or like, I want a bunch.
I can't remember the word he used, but I want a whole house full of kids.
And, you know, she's like the fertile river from which the kids will be floating down in their Moses-like reed baskets and stuff like that.
And it's like, it's just this perfect setup.
And then she can come out of prison, be hot, and get a great house.
She can go from living in her car to living in a mansion with a hot groundskeeper.
You know, like that's just, it's so delightfully insane and improbable and mad, but enjoyable.
Hey, if I can believe that there are human Cylons in Battlestar Galactica, I mean, I can believe that a woman who is a murderer and has been in prison for 10 years can get the hot guy with the great house and all of that.
And that is just, it's crazy, sexy stuff for women.
The idea that you're displacing the older woman who's infertile as the younger woman who's fertile is very sexy for women.
And I mean, the sex scenes I get, you could say they're kind of unnecessary, but I mean, I like the fact that at least they didn't all the fade to black.
Like, it's okay.
It's just about raw sex and sex appeal and so on.
And I thought that was great.
Now, I do have an sort of another general theory, which I could mention, but I wanted to get any other thoughts you guys had about what I inflicted upon you.
It's not like you would have gone to see this movie if I hadn't say maybe.
Another aspect of the ambrosia stuff is, you know, of course, the wife characters, we find out through the course of the movie, and before she turns quote unquote crazy, because we find that out, right?
She's not actually crazy.
Although it is kind of insane what she's doing, but you know what I mean?
She's in control of her faculties, but I'd say.
But she's also a single mom, but she's also like, you know, sweet and whatever and whatever.
And, you know, she lands his hot guy.
The professor, right?
Professor?
She gets knocked up by the professor.
No, she's not knocked up.
She pursues an affair with the professor who's grading her.
Also, a little bit sketchy, but anyway, go ahead.
Yeah, but no, I mean, but yeah, but she, she makes that, she makes that really bad decision, you know, gets knocked up by the professor and everything.
But then she's able to land, you know, a guy with this, you know, hot shot, big, big firm.
And that's not a reference at all to anything.
No.
Big firm buttocks.
Hang on, I'm just diagramming that because she's a anyway.
Yeah, but so she's a single mom, but young, he's like, oh, dedicated to the kid and everything.
It's like, you know, but I really want kids of my own.
So it's kind of like on both sides, you know, the woman who has a 10-year prison sentence, you know, on parole for five years and five years early release.
And then this other woman who, you know, made another series of terrible decisions, which a lot of women do.
But you can get this guy.
But then, of course, she's telling it from her perspective and she's already in this terrible situation.
So it's a little bit different colored, but it's two bad decisions, right?
One, one is to be the guy to death when his victim says she's not even a victim and it was consensual.
And the other is to pursue the hot professor who's mocking your grades.
I mean, come on.
I mean, that's pretty sketchy.
And these are bad choices, right?
Just bad choices.
And I think, sorry, I've got other stuff to say, but if there's more that you wanted to add, there was something else, but I'll come back to it, I'm sure.
So a lot of this is if it's too good to be true, right?
I mean, if the super hot guy is interested in you, like the Amanda Sayfried character is like dripping with breast milk, she's like, she's breastfeeding, right?
Like, okay, if the guy is into that, then it's not going to go well.
This is going to be a bad scene all around if he's like a, I don't know, a mommy milk fetish guy or something like that.
Like that's just bad all around.
And so if it's too good to be true, right?
If the super hot guy wants you as a single mother, as a murderer, you know, then like there's, there's a catch.
So to me, this is a warning tale to women, which is if it seems too good to be true, it's bad.
It's not good, right?
If it seems, oh, the hot older professor is going to just, what, marry me?
And like, no, he's going to knock you up because he's a player and he bangs his students and you're like, you're an idiot for doing that.
And so if the super hot guy wants the mid, it's because something terrible is going to happen.
So it, I got almost like a morality tale out of this, if that makes any sense.
I feel like you got to stretch a bit to get the morality tale, but I see it.
I don't disagree.
I get that side of it.
Are you accusing me, Jared, after knowing me for how long of being capable of stretching things?
Oh, the stretching has yet to begin.
I'm going to give you stretching that makes Nadia Kamenici look like a piece of sidewalk.
So I'm going to give you stretching before the end of the show.
So this is a warm-up.
We're just limbering up at this point.
Good.
Because there's lots in this story to cover.
Yeah.
Yeah.
So go ahead.
Do you want me to go on some of the stuff that I noticed with the film?
Yeah.
Yeah.
Okay.
So to begin with, like from the very first cutting scene, and I'm just these days, I've been justifiably so chastised by it that I'm looking for like, what's the lefty, sinister crap going on here?
And right away, it was like, okay, so the ultra-successful white people are neurotic and crazy kind of stuff.
Like you get this nice mansion of the super successful guy, and they're just, it's false, it's fake, you know, and it's like, all right, cool.
And there was like, there was no diversity in the film.
And that's because everybody is incredibly flawed and horrible in general.
Yeah, there weren't any bad non-white characters.
Yeah, but I guess for sure.
Yeah.
Yeah.
And then, so, all right, all right.
So the, the, the, but the big thing for me that uh stuck out for this was how it was a story about like a woman's absolute biggest nightmare.
Well, I imagine like a young lady looking for a man, one of their biggest worries, one of their biggest nightmares is you come across like this, like you said, too good to be true, or this perfect man, and he turns out to be a monster.
Yeah, absolutely.
And this isn't like 50 Shades of Gray, like, you know, oh, well, she's into it.
I'll let him beat me because he can play piano and has a helicopter.
Yeah, no, that's like, cause that was consensual.
They actually had contracts, right?
Yeah, he's like, I'm going to lock you in a room and I'm going to have you carve, you know, you know, 21 strikes in your chest.
You know, it's like, no, it was her belly.
Your belly.
Yeah, yeah, yeah.
Although I can understand why you'd be focused.
Okay, no.
And also the mysterious disappearing wounds.
This is like the Bruce Willis phenomenon that she's literally hacked herself half in two and she's got no problem.
She's literally like a few minutes after she almost hacks herself in two, she's just reaching for a top glass with no problems whatsoever.
That I think is delightful.
Like the amazing disappearing wounds, like doesn't even wash up.
For God's sakes, you just got yourself a dirty glass.
I've got a response back to channel the author.
It's like, or the screen, screenwriter, whoever done it, like, what would the point have been to give these characters more depth, to give this more realism?
I'm just talking physical realism.
I'm not even talking psychological realism.
Like you've just carved your 21 deep gashes in your belly and then you're having fights and it's like, yeah, it's nine.
It's fine.
Why would I do that?
It's, it's lost on this audience.
It's lost on this, you know, these consumers.
Why?
Why would I do that?
It's wasted effort.
Right.
I'm going to get paid either way.
So here, you know, here's all of you need to be entertained and I don't have to do anything else.
You know, hats off to people to say, like, playing the game, you know.
I thought the child actress was really good too.
The sort of coldness and oddness and so on.
And the way she says, I want to get to know you.
I like you.
No, you don't.
Like, I thought she was really, really good.
I just wanted to sort of mention that because it's a small, you know, there's an old saying in theater, like, there are no small parts.
It's only small actress.
And I thought she just did a great job, whoever that child actress was.
Sorry, Derek, go ahead.
No, yeah, she did.
She did do a good job.
So this, I hadn't thought about that as much.
I was just going to, as I was getting into this, like, no, this is like a woman.
This is women's, like, I got to be a super nightmare.
Like, like, if you do come across Mr. Ultra Chad Perfect, because a woman has to give herself so fully and completely to a man that like if he is this super powerful, like however powerful he is, that could be turned to harming you as well.
Like he's got social graces.
He can turn everyone again, like he does.
He makes the, everyone believe that the Amanda Safery character is crazy and he can do whatever he wants.
He's got her trapped, you know, because she, you know, fell into his web, so to say.
Right.
And so that's got to be for women out there looking for a man who they have to.
Even in our world where women have the courts and everyone, everything's on their side, like absolutely biasedly, they still are alone with him.
He's super powerful.
Like they have to give themselves to him, you know, and trust him.
And he will decide their fate in so many ways.
Like I don't see practically a lot of ways women can get around that.
And so psychologically, deeply, that's got to be something that really messes with, that they think about, you know, like, oh, man, okay.
So, ooh, what if?
What if this guy is really tempting?
But what if this is she's just hiding all this and it comes out in the dark, you know, or one day or in some way, which we see in this movie.
This guy is Mr. Absolute perfect in every way.
And then, and then in the next moment, you fall asleep and you wake up and you're locked in a cell and you've got to like carve crap in your chest.
You poop in a bucket and all this stuff, you know, right?
Right.
It's worse, it's worse than prison.
Like, she would have been better off going back to prison than being in this situation.
Yep.
Yep.
Yeah.
I, I was, I was thinking, though, I mean, I get where you're coming from with the morality tale kind of thing.
And I think, but I, I, I think they, there's two thoughts I have around this.
One is the observation that, of course, they turn it into a revenge fantasy by the end, right?
So the like, I mean, I get like for the plot, everything for the plot, uh, you know, they have an officer interviewing Amanda, Amanda's character after the, after the female, the murder, the murder guy.
So after they kill him, the female cop comes to investigate, right?
Yeah.
And so they're having an interview.
She's interviewing her because she's, you know, it's prime suspect, right?
Because she's, she's the wife.
And that, that's, that's not suspect yet, because that's the way, but in the investigation, right?
Uh, what do you think?
Do you remember what the cop says?
Beautiful.
Oh, yeah.
Well, I know, I do remember, I remember, sorry, a person of interest, whatever.
They look at you because you're closest.
And that's, that's typically how these things go.
Yeah.
And so she, she's interviewing, and then she's like, it turns out that she's the sister of the guy, sorry, the sister of the woman who was his previous fiancé.
And like eight years ago, she turned up on my desktop or doorstep and she was like never, she was completely different.
And so she's like, yeah, maybe, you know, he had a deep gash in his neck.
You know, she's like pointing out these inconsistencies to Amanda.
And then, you know, it's like, you know, you know, bones break, skin breaks, teeth fall out when you have this massive fall.
But so my point of that, though, is that they bring up this, they take this moral tale and it could have been terrible, obviously terrible consequences.
But I don't know if they could have done that in the current environment movie thing.
They turned into basically this revenge fantasy.
Then Millie basically becomes, you know, a beleaguered housewife revenge for hire, vengeance for hire kind of character.
Like right at the very end of the film.
So yeah, there's so many movies about women's justifications for murder.
Making murder good.
Like for the men, it's like all we get is like the Russian Ruskalnikov, who's like, you know, kills the predatory old pawnbroker and then suffers massive guilt for the rest of his life and can't function and so on.
But for women, it's like, how can we like, how can we have a story where you can cheer a murderer?
That is all the way back to Arsenic and Old Lace.
Like that is so ridiculously common.
It's everywhere.
And so I love, you know, this like the cop, right?
So this is female cop.
It's actually a male cop in the book, but I guess they wanted to make it more feminist, right?
So the female cop is like, oh yeah, you guys totally killed him, but I didn't like him.
Yeah.
So fuck the law.
Fuck my actual responsibilities as an officer of the law.
Fuck the oath I made.
I don't like him.
So you can kill him.
Do you know how creepy that is?
That is that is ultra creepy for the contemporary to reflection on the contemporary state of women.
Like we have this girl power network.
Yeah, but this is Hicks.
I don't like you.
So yeah, you don't get free speech.
I don't, I didn't like this guy.
And he was a bad guy.
I get that.
I didn't like this guy.
So you can kill him.
Like that, that's that's I don't know that that's female nature, but the way that female nature is portrayed in these kinds of movies is going to make about a billion misogynists out of anyone who sees it.
So I get consumed by lust.
I mean, she stole a woman's husband.
Yeah.
Right?
She, like, this is the Sidney Sweeney character.
She broke up a marriage.
She stole a woman's husband and she killed a guy and she's the hero.
Yeah.
Well, she killed two guys.
Now, you could say self-defense with the guy, and I get that.
So, I mean, he's like totally psycho, says he's going to kill them.
Now, of course, they, I mean, they could have escaped the house for sure.
But, but I also get, I also get, oh, if you escape the house, then, oh, what do you do?
You've got to try and prove things.
And, you know, so, and, and there's a lot of women who have a lot of a very cynical view of the law enforcement.
So they want to take matters into their own hands, or at least that's the sort of fantasy.
And I get that.
And I understand that because, of course, if you're a woman and let's say you've been raped, then proving it is very tough because it's a lot of he said, she said stuff, which is why all of human society up till about eight minutes ago was organized around preventing women from getting into that situation so that you wouldn't end up with the he said she said, which is not enough to convict.
So women who've been assaulted are very frustrated and angry and upset with the legal system for reasons I can completely understand.
I mean, if you know that you've been raped and you can't get the guy thrown in prison, then that's really frustrating.
And of course, but everybody knows that you can't just take someone's word about a rape and throw a guy in prison.
Like that's just not justice because that's not fair.
This is believe all women stuff.
But that's a very sort of solipsistic, if not downright narcissistic perspective, which is, you know, oh, my friend got raped and she didn't even bother going to the cops because what are they going to do and stuff like, so then there is this need for justice that's extrajudicial.
And this is what this movie is kind of all about, that the cops have been all around, the cops have investigated, the cops are used against the woman, right?
Because in the same way that the man weaponizes the mental health system against his wife, she, the wife, the Seefried character, weaponizes the cops against Sidney Tweeny, right?
Because she's saying, oh, you stole my car and you stole my, even though she gave the car and the clothes and so on.
And in the book, if I remember rightly, she's gained weight, which is why she has to give up the clothes and all of that sort of stuff.
But of course, you can't ask Amanda Seefried to gain weight because that would require her to eat more than a bagel a week.
So, yeah, I get that sort of frustration, but the number of movies I've seen where a woman is mistreated and, of course, you see her be mistreated, right?
So the problem, of course, with a woman who's abused is, okay, look, if you have videos, if you have, you know, documentary evidence and so on, yes, absolutely, you know, but you can't just say it and expect everyone to believe you and have legal consequences.
So there's this genuine frustration, which I understand, but it is very much about, I know that I was abused, says the woman, and so the guy should go to prison.
But the problem is you need to prove it in a court of law.
And so what they do is they give you all of this stuff where, well, you see the woman being abused, so there's no doubt, right?
So then she's perfectly justified in whatever she does.
And the police won't help.
Or in this case, they sighed because it's personal.
This guy mistreated my sister so you can kill him.
Like, that's creepy as hell.
Like when you think about it legally, right?
So it's wildly insulting to women.
Well, is it?
I mean, I don't know.
I hope so.
I hope so.
But the women duel these kinds of things.
And so let me let me, are you ready for my big limber stretch here?
Can sort of take this on the on the final stretch.
Bring it!
Bring it!
All right, all right.
Here I'm out on a limb so far.
It's a giraffe neck in space.
So, what is this a big analogy for?
Because it's a very powerful story, and it's a very deep story.
And it's more than just about fertility and aging and mistakes and so on, right?
So, if you look at the first woman, she, in a sense, is under the power of the state.
So, this is the, sorry, the Amanda Seaford character.
So, she's a single mom.
Okay.
And she gets a job in an office doing spreadsheet work.
And she can bring her kid in, the baby, and drop the baby off at the daycare that's at the job, right?
Now, why is she able to do that?
Because of the government.
Because if the government wasn't saying you have to have daycare and you have to hire single mothers or you're going to get sued or investigated or something like that, I mean, there's no company on the planet that would hire someone for a junior position and give them childcare.
Right.
Because if you have the choice between a woman or a man who doesn't have a baby, you have to take care of during the day with all of the extra expense and costs and legal liability if something goes wrong.
There's just no way as a company that you would hire a woman who's breastfeeding a new baby.
So that's state power, right?
Yeah.
So that's the first one.
The second woman, Amanda, sorry, the Sidney Sweeney character, she's under the control of the state, literally, because she's on parole.
Yep.
Right?
Yep.
So these women have a salvation complex to an all-powerful guy with infinite resources who turns out to be a monster.
That's chicks in the state.
That's women in the state.
Ooh.
Yeah.
He's the greatest guy ever.
He's perfect.
Look at all of this freedom he's going to give me.
Freedom from what?
Freedom from the consequences of bad decisions.
Oh, that's lovely.
So they are wedded to freedom from the consequences of bad decision, which turns out to absolutely enslave them.
Oh, are you ready for one step further?
Oh, the stretching you think is a lot.
No, no.
We're going further.
Now, the one thing that this is in common with 50 Shades of Gray is the evil, icy-hearted, older mother.
So Christian Gray in 50 Shades of Gray has an evil, older mother.
And this guy has an evil, older mother.
Now, there are no fathers in the movie.
Not one.
I have that right.
Are there any fathers in the movie?
There's a glimpse of a father in retrospect, the professor.
No, no.
But I mean, sorry, that's a guy who had sex.
I mean, the father who's actually parenting, right?
Absolutely agreed.
There are no fathers in the movie.
They're not.
There's a guy who promises fatherhood, but ends up enslaving.
In other words, there's a guy who promises to act as a father, but ends up enslaving, which is, hey, I'll pay the bills.
The government says to women, I'll pay the bills.
I'll help you raise your kids.
I'll give them an education.
And right now, of course, I'll send your 11-year-old to anti-misogyny camps in the UK.
Like, I will be.
And I remember this in the 90s.
They had this thing called the V-CHIP, where instead of a dad saying, turn off that junk TV, it was the government was going to make sure that children couldn't access.
And now it's all like, instead of a father saying, stay off social media now, in Australia, they're banning social media for 16 and other and under.
So you've got the government saying, I will act as a father for you and then enslaving them.
Now, the old woman in this movie, the icy-hearted, vicious, abusive older woman, is the first generation of feminists who voted for the welfare state.
Okay, hold on, Okay.
Okay, sorry.
All right.
All right.
This reminds me of something my wife was telling me about as we were driving home.
She was talking about the trope of older women feeding younger women to power.
Like she was mapping it to Hollywood.
She's like, is this about the older women like Oprah that fed ostensibly, you know, young women to Hardy Weinstein?
You know, is this a creepy picture?
Yeah, it certainly gives you that image.
I don't know what the truth is, but it certainly gives you that view.
But sorry, go ahead.
Yeah, so she was asking, like, you know, is this, is this about older women feeding younger women to powerful men?
You know, like the mom feeds these young women to her son, and then Amanda Sayfried feeds the hot young thing to her wicked husband to get away from him.
You know, and so now you're pointing like that, the mom was the first generation of feminism to vote for the welfare state that promises to be a father, but then enslaves the young women.
so why are these women in this in these negative situations So the two things that is in common with these women who are in these negative situations, the Amanda Seafried character and the Sidney Sweeney character, is that they're both, where did they both get in trouble?
With men.
But where?
In what environment?
School.
Oh, school.
In university.
Oh.
In university.
Now, they're both poor, right?
They both mentioned that they're poor.
Isolated.
Yeah.
So how are they able to go to university if they're poor?
Scholarship.
Government programs.
State, state, state, state.
Yeah.
Government programs.
And the woman even says, I'm on a I think she said scholarship or something like that.
But for the vast majority of women who go to university, who are poor, it's government loans.
So it's government loans that put these women in these situations where they end up destroying their lives.
Well, that's partly debt.
That's partly leftist indoctrination and so on.
But the state is kind of everywhere but nowhere.
And it's the laws like this woman who set up with the drowning of her kid, the Seafried character, she's put into psychiatric facilities and drugged until she, quote, confesses her wrong.
That's straight up Soviet stuff.
Absolutely.
So this is the idea that in the Soviet Union, and this is true, of course, in almost all Soviet countries, that they used the psychiatric system since the Soviet system is perfect, since communism is perfect.
If you're unhappy, you've got to be mentally ill.
And so you have to be locked up until you confess your crimes.
And the other thing, too, of course, is that the guy who's cruel to Amanda Seyfried and her daughter, Cece, is a stepfather.
What is the number one predictor of abuse within the family?
A non-biological parent.
That's right.
A stepfather.
A stepfather.
30 plus times more likely for things like sexual abuse.
So a woman can't get a professor to commit, but she can get this guy who's perfect to commit, but he actually ends up being a monster.
Well, that's single moms marrying the state and ending up enslaved, embittered, and alone.
Yeah, yeah.
Or not even necessarily single moms, just any woman who's had bad luck.
Like the, like, no.
It's not bad luck.
There's bad decisions.
Well, no, no, for the other woman, her parents died and she was kind of set off on a bad course in life.
Well, okay, so let's sort of go back on that route, right?
So this is the woman, the Amanda Seaford character.
Her parents died in a fire.
Is that right?
Sorry, no, Sidney Sweeney.
No, her parents disowned her after the murder.
Oh, I apologize.
I got that backwards.
Sorry.
I think the Amanda Seaford character, remember, there was these rumors that she'd started the fire, but her parents died in a fire, right?
You're right.
Okay.
So her parents died in a fire.
And again, this is sort of plot necessary, but that doesn't particularly matter because you can choose just about anything to be plot necessary.
So this woman ends up in foster care because her parents died in a fire.
So what does that mean?
That means that her parents, I'm not going to pick on the women here because this would be both the male and the female.
But I would say, in general, would you say that it's the women or the men in a marriage?
Is it the wives or the husband who generally maintain social contact with the community, with the extended family?
It's generally the wife, right?
Wives.
Yeah.
So how did the Amanda Seaford character end up in foster care?
Because there was no family member to take her.
So why would there be no family member to take her?
Or friends?
I mean, I have, since Izzy was very young, I have cross, like since Izzy was very young, I've had cross deals with people I know that should something happen to my wife and I, should something happen to them, their kids will be taken care of.
Yeah.
Right?
So how did she end up going into foster care?
Because her parents and in particular her mother, and again, I know it sounds like I'm picking on women, but in general, women maintain social networks more so than men in general.
So how is it possible that she ended up in foster care because her parents died?
So did they not have a will?
Did they not have insurance?
Did they not have people who they had contracted to?
Because everybody knows that that's a risk, that heaven forbid, right?
If you die, and something's got to happen to your kids.
So even her mother and father and father, but I think a little bit more her mother made bad decisions in that they died and the government had to swoop in and be the new parent.
So the government being the parent, the government being the parent, the government paying the bills, the government paying the way to get into school, the government forcing people to hire women who are literally breastfeeding.
The government then taking care of this woman in terms of like throwing her, not taking care of, but throwing her into these psych wards and so on.
And so the government's kind of everywhere because she was literally raised by the government, the Amanda Seaford character, or raised under the control of the government, the Sidney Sweeney character directly under the control of the government.
And it was government control that put them in environments and led them to places where they made bad decisions.
And so they end up feral and murderous.
And they end up trapped and enslaved.
And so to me, it's a biblical story, which is the devil is going to be pretty.
The devil is going to be handsome.
The devil is going to be charming.
He's going to promise you the world.
He's going to promise you the world.
And you're going to get something for nothing.
What did these women do to earn this guy's love?
Let's say, so let's say when he first shows up, yeah, he's perfect.
He's perfect.
He's perfect.
So, so if he's one in a million, tall, great hair, handsome, great physique, wealthy, blah, blah, blah, right?
Beautiful house.
So he's one in a million guys or one in a thousand, one in 10,000 guys.
So what have you done to be equal to him?
If you want a 10, you got to be a 10.
It doesn't necessarily mean looks.
It could be any number of things.
What have you done to earn his love?
Well, nothing, which is why women don't need to earn resources from the government.
They just need to vote, but then they get enslaved.
Yeah.
Right?
So this is women voting for immigration where the immigrants can be very aggressive.
I mean, look at England, all the rapes of the children and so on, right?
So to me, this is just a straight-up devil story, which is, oh, if you want something for nothing, you pay.
Yeah, the devil will offer you something for nothing.
Yes, I want you to move in with me.
I with the perfect physique and the fantastic looks and the great body.
I will take care of you and I will do everything for you.
And it's like, that's just Satan.
I mean, it's not a guy.
It's just Satan.
Or statism or statanism or whatever.
We've sort of talked about it before.
But it's like the woman, you know, we've had call-in shows, like, yeah, she was 36 and she was really funny and really charming and really sexy and strangely single.
It's like, you know, like, and so this idea that you can bounce out of prison, break up a family, be a home wrecker, and the guy is going to just give you the world.
Because this is the guy who could have any woman.
I mean, I know, like, there's morals and all of that, but if you've seen the sort of stories of the guy who puts a picture of a model up and says he's just got out of prison for spousal abuse or girlfriend abuse or whatever, and all the women are swarming him.
If you're good looking enough, right?
Yeah, good.
Yeah, this is a guy, like he's charming, funny, wealthy, good looking.
He could get just about any woman.
So then the woman has to ask, why is he choosing me?
But that's a humility thing.
Why would he choose, why would this guy who could get any woman choose me?
And to ask that question is a question of humility.
And if the guy chooses you when you're not anything particularly special, then it's he's choosing you for subjugation because the attractiveness gap is so great that he has to be choosing you in order to dominate and control you.
And the government is giving you stuff in order to control and enslave you.
And it feeds into the next generation.
And that's why there's the older woman who created the state that caters to women and dominates them, who praises women and flatters women and then dominates and controls and subjugates women.
So, because it's the same thing in 50 Shades of Grey.
And so, and to me, I find that interesting in that the guy is not just a causeless monster.
Like, because he uses the same phrases that his mother inflicted and instilled upon him.
In other words, the male monster is under the control of the last generation of women.
And he's created by the last generation of women.
That's feminism and the welfare state and the government.
Again, I'm not saying this is in the woman's mind, but there's a reason why this I think resonates and is such a quite powerful story.
He's got this great smile.
Yeah.
And what are politicians?
Great smiles, very charismatic, and so on.
Great hair.
Yeah, it's true.
Politician is that's the guy with better hair always gets elected.
Sorry, go ahead.
I remember thinking of that through the Obama election and stuff.
I was just, I was a young man, still just getting like aware of politics.
But I'm like, well, this guy is all just, it's all anyone can say positive about him is like, oh, charisma, he speaks well.
It's da-da-da-da.
And just I remember thinking, like, okay, well, you, you people get what you deserve.
Like, like, there's nothing here.
You know that this is all just, you know, bread and circuses, good smile, conversation.
And it's like, all right, right, well, well, you know, I remember that being like a moment for me where just like kind of a divorce from the society around me.
It's like, well, if this is what you, you people are into, like, I don't know what to do.
Like, well, that means, yes, Obama was supremely confident and, you know, corrupt and evil in many ways.
And this is the same thing.
Like, women are drawn to confidence.
Like, you know, that sociopaths don't really feel fear, right?
Like, they're very confident.
And it's not because they're so great.
It's because they don't view other people as human beings.
You know, like, like if we if we play some DD game and we get into conflict with an NPC, do we feel anxious?
No, it's just a game.
They're just an NPC.
That's how sociopaths view humanity as a whole.
We're just a bunch of digital NPCs.
There's nothing to get nervous about if there's conflict.
And so it's like, wow, he's so confident.
That's so attractive.
And it's like, well, yeah.
And you're going to pay for that because a guy without any insecurities is a guy who's probably a sadist, certainly a sociopath in general.
I mean, because usually confidence comes from overcoming obstacles that you're frightened of overcoming.
And so you sort of slowly get it over time.
But the sort of instant wealth and power.
Like, and this guy was, you know, he had his money handed to him.
He got everything handed to him.
He didn't earn it.
He didn't own his looks.
Now, he did, he earned his physique as an actor.
But of course, all these guys, there's no gym in the house.
Like, isn't that wild?
These guys got this perfect physique, but there's no gym in there.
Oh, we have a cupboard upstairs.
We have a utility room.
We have a closet.
We have a media room.
There's no gym.
And this guy has a perfect physique.
So he doesn't earn any of it.
It's all just fantasy.
Sorry, go ahead.
That absolutely plays to your point: appease the state.
This is this is wrapped in the state because there's nothing earned.
None of it is earned.
Yeah.
And also, I was going to say, was there more you want to make on that point?
Because I got off to.
Yeah.
Yeah.
All right.
So I'm going to call back to the thing I talked about, revenge, and say, well, I kind of have to do it because I was thinking more surface level and kind of the, you know, like the current society.
But no, I think actually, based off of what you just said about the generational thing, now at the end of the movie, it's actually more of a current state warning, which is now women are just going to start taking vengeance.
Well, sure.
And the reason why they can eliminate their husbands is because they have the government.
Right.
But it's they're going to, well, with the government, that's that's all basically the government is men, essentially, you know, men doing things and men paying for it.
Or side of the enforcement side is men.
Yeah.
Yeah.
Yeah, for sure, for sure.
But the way it's portrayed in the movie is that it's the collection of these feral women who are going to wreak vengeance.
But they could, I mean, I understand they can only do that because the state exists because the state's funding them.
But they're basically going to go from state to state to state because they're basically going from monster to monster and they're going to be taking down all these monsters.
Well, and also women, and I get it's kind of a funny cutesy ending and all of that, but women turning to violence because they've made bad decisions is a tale as old as time.
And so even at the end with the woman who says, oh, yeah, my husband's a hard man, I hear you can help.
So she's basically saying, be my hit woman, right?
Kill him for hire.
And so she can't even say, I married the wrong man.
I really have to take responsibility for that.
And I think, and you notice that the older women, one of them has the sort of, I think she was half Asian or something.
I don't know what she was, but she had a kid, but none of the others seemed to reference children.
And the last woman, there was no children, right?
So I think that this is the rage of women.
And we're just starting to see this bulge in the demographic, the women who are getting into their 40s and who are suddenly realizing, oh, shit, I have no man, I have no kids.
And all of the men I want who are quality want kids.
Like men make money in general so they can have children.
That's sort of why male wealth and male sort of work ethic and testosterone sort of exist.
And so there's going to be a whole bunch of women who are going to realize that they have doomed themselves.
And of course, I tried warning about this, you know, decades ago, like even, you know, saying to women on X like six or seven years ago, like, you know, you largely infertile by 40, but you live to 80 or 90.
What are you going to do with those 40 to 50 years?
It's a huge and horrible problem.
And this is going to happen again when the women get to retirement age and they can't survive, right?
This is the old Kevin Samuels thing.
Like you need over $2 million to survive from 65 to 85.
And women don't have that.
Like marriage is not an option, right?
And the government sure as hell isn't going to be able to pay you enough to live well.
And so this I can get stuff for free.
And then getting really angry later is, again, this is the Obamacare stuff, right?
Hey, I can get all of this free healthcare.
And it's like, why the hell are my healthcare costs so high?
Or, you know, we can, we can not have a border and because it's mean to turn people back on the Rio Grande or whatever.
And now, you know, because illegal aliens are driving a lot of healthcare costs because they can just go to eMERGE and they have to be treated and all of that.
So it's like, and now the bill is coming to you and people are getting really angry.
And, you know, this is the Luigi, what is his name, Bangioni, the guy who shot the healthcare CEO or whatever, right?
So, and women are cheering him on, right?
So this is like, well, I wanted stuff for free and giving people stuff for free programs them to be violent later.
And this is like, well, remember there was under the government shutdown, the grocery debit cards, the EBDs were down or threatened to be down.
And they were like, yeah, we're going to shoplift.
We're going to riot.
We're going to tear up the neighborhood.
We're going to set fires.
And so, yeah, getting people addicted to free stuff turns them to violence, like the Rob Ryan and Nick Reiner, right?
Getting addicted to the dopamine of drugs and then you end up becoming violent.
So taking what you have not earned, you know, like the idea that some super hot, wealthy guy is going to just absolutely be entranced by a woman who's breastfeeding another man's child.
I mean, that's so insane that you should never believe that.
You should never believe it.
If it's too good to bin since you've been all safe from when I was a kid, if it's too good to be true, it is probably too, it's not real, right?
And then this other woman who's like, yeah, well, I'm a woman who killed a guy who because he was supposedly raping a woman, but the woman says it wasn't rape.
So I killed the guy.
And I'm not even sorry.
Like she didn't say, I made a mistake.
She said, oh, yeah, I killed a guy who was a rapist.
So she still is not saying, like, what the hell's wrong with me that I killed the guy that the woman said wasn't even raping him.
Right.
Right.
So there's no guilt.
Right.
Yeah.
And the Amanda Seifreed character could never in this movie say, I was such an idiot.
Of course, like, why would he be interested in a single mother?
Like, of course, there was something weird about the court.
Like, there's never any of that, right?
There's never any, like, the entire plot of the story arc of crime and punishment is waiting for this guy, the murderer, to say, I did wrong.
Now, did these women ever say, I did wrong?
I made a mistake.
I did, I chose.
Look, I can't believe I slept with a professor.
Wow, I'm a co-ed who slept with a professor.
Boy, that always works out in the long run.
This is the, what was it?
This was Monica Lewinsky was saying about Bill Clinton that he gave her leaves of grass by Walt Whitman.
And she literally thought that they might end up together or whatever.
And so, like, when did the women ever say, to some degree, this is my fault?
Well, no, okay.
Correct me if I'm wrong.
The Amanda Safery character does say to her daughter, I'm sorry for bringing him into your life.
Referring to the, when she gets away.
Right.
I get that.
And that's a very good point.
And I'm not trying.
I don't think I'm just trying to blindly defend the thesis, but they literally have voiceovers.
Right.
And the voiceover is the character talking to herself.
So I'm sorry I brought him into your life.
That's that's a nice thing to say.
But in the voiceover, she never says, How stupid was I to go down this path?
Like, how stupid was I to think that this hot guy who wants a whole bunch of kids wants a single mom who's literally leaking breast milk?
Sorry, go ahead.
And there's never this big call to self-knowledge, which you just, you absolutely, you don't see in society.
That's not what I'm saying.
Well, and maybe with men, maybe with women, but and and this the uh the um Sidney Sweeney character never says I shouldn't have killed the guy.
She says, well, you know, she just betrayed me, his quote victim, and I had to plead to manslaughter, blah, blah, blah, right?
So she never admits that she has a violent temper.
So because she can't admit she has a violent temper, she ends up being subjugated by a guy with a violent temper.
And because she never admits she did wrong by killing the guy who was quote assaulting, and I'm not saying quote assaulting because I mean, it looked bad, but again, very few people are going to do a sexual assault on a dorm floor with a door that could just be opened.
Yeah.
And in a legit rape, how often does the victim defend the rapist, even if, you know, the violence was too much?
Well, and she was, she went into the room because she was attracted to him.
So she's attracted to violent guys, right?
So she's attracted to violent guys.
She kills violent guys, which is indication of a significant personality disorder or a problem in the personality.
But because she never says to herself, I've got to figure out why I keep ending up in these situations, because she never says to herself, I'm a home wrecker who wanted the hot guy and I'm a woman just out of prison.
And I lied to him, right?
Because I'm sort of flirting with him all over the place and my boobs out.
And I never told him that I'm in prison.
I was just got out of prison for murder.
And so I lied.
I withheld.
I mean, and so the glasses thing is a bigger thing in the book, but I even faked putting the glasses on.
And she didn't do that to appear more credible.
She did that to underplay her looks so she'd get hired without appearing to be as much of a sexual threat.
But because she never admits she did anything wrong, she ends up repeating.
And the end of the movie is, no, I'm just going to do it for hire.
I'm just going to, I'm now going to become a murderer, like a professional murderer.
She's a hitwoman.
She's a mafioso.
She's now a hitwoman.
And that's considered cute and funny.
And I get, like, I get.
And I don't want to be over serious because I know it's kind of a goofy movie, but because she doesn't ever admit that she did anything wrong, the body count is just going to keep piling up.
And you know what else?
We see the school scene from her perspective, right?
She comes in and she sees the hand over the mouth and she looks like the girl's got fear in her eyes.
But of course, the girls in back her up.
So she's attracted to the violent guy.
How much of that is also just jealous rage?
You know, she came in and she sees the guy she likes, you know, another girl.
And she just, and her justification has, well, she was being raped.
No.
Right.
So she's angry that the guy is having sex with another woman when she's attracted to him.
Yeah, yeah, yeah.
That's a good point.
That's a good point.
Yeah.
Yep.
So then if she's blind to jealous rage, then that's why she was able to be a homewrecker because she would be provoking the jealous rage of the safe food character, but she's fine with it.
And she is.
And also, it's a great line where she's like the guy, the first time the guy shows rage is when he screams, get out to his wife, the seafood character.
And she's like, would you like me to help you pack your bags?
Like that's really provocative.
And she's then siding with the sadism.
Now you say, ah, but she was treated badly, this, that, and the other.
And it's like, yeah, okay.
So I'm treated badly.
Therefore, I have no morality.
I made bad decisions, therefore moral considerations don't come into it.
And this is another part of what we talked about before.
And we can sort of close up here if you like.
But it is because children take so long to grow up, right?
It's like 20 years plus.
So women who get pregnant and the guy doesn't stick around cannot afford morality.
And this is why getting women knocked up without providers is a great way to decay the morals of society because women can't.
I mean, look, I can deny myself food.
If I make a bad decision and I get fired or whatever, I can go hungry.
I can whatever, right?
But if I've got two kids, I can't make that choice for them.
I have no, I can't take negative consequences for my own bad behavior because my kids need shelter, my kids need food, my kid needs dental care and needs glasses and whatever.
Like I cannot afford property rights if I don't have a provider and I have kids.
I cannot afford to respect property rights.
I just, and you see this, like government's going to cut welfare.
Well, who's going to feed my kids?
It's like, I mean, that's, that's, you know, that's a shame.
But, but, but, so this idea that women who make bad decisions become completely amoral is kind of foundational, which is why trying to make sure that women don't have sex before marriage or have a good commitment before they have children with a good guy is the only real way to maintain virtue in society.
Because if you get a bunch of single moms, and you know, the men are assholes too, don't get me wrong, but in general, women choose who they have sex with.
Women control access to sex, men control access to relationships, but or at least marriage because it's the man who proposes.
So, yeah, when if you can get women to make bad choices, then you end up with the cop saying, oh, yeah, I'm not going to investigate a murder because he was mean to my sister.
And then they kill the guy and then they move on without any problems.
And there's no guilt and there's no issues.
And then she's like, oh, I'll go help other.
And now she's like, oh, if you've got a problem, husband, this woman will come in and kill him for you.
And it's completely amoral.
So if women have these, they make these bad choices, they don't take responsibility.
They then run to the government, which means they have to then start preying on others, but they can't focus on any of that.
And therefore, they end up justifying it, which breeds tyranny.
There we go.
That's my sentence fragment at the end.
Man, that's good.
Anyway, so I'm glad.
I'm glad.
Thank you guys for taking the ridiculous idea of going to see this movie, but I thought it was really good.
Steph, thank you.
Like, it was fun.
It was worth the trip out there.
And you guys have a way to go, too.
So it's more than me.
Yeah.
And it gave us this great conversation with a lot of thought-provoking stuff.
I actually appreciate the author and the people for making the movie for putting that together.
Like, it's interesting stuff.
Oh, man.
Yeah.
Yeah.
And I didn't really catch on to this in the movie, but this idea of the jealous rage thing, which, you know, granted, maybe it's more of an interpretation of what's actually seen in the movie because that's not depicted from the movie.
But so the wife, the Amanda Sefri character, her character, she sees this girl.
And like, we know people, you know, we get instinctual senses of people.
So why did she hire this woman?
Precisely because she sees this jealous rage, right?
Ooh.
Right.
She knows that she's a murderer.
And so maybe she hires him in part so he'll off the husband or at least have that capacity.
That's interesting.
When she does say that to the daughter, she's like, she can take care of herself.
Right.
And she said, I did research and all of that.
So I knew who you were.
Yeah.
Good point, James.
Yeah.
Yeah.
But, but also not like, oh, I was just doing self-defense, like on the part of another, right?
It's not just pure self-defense.
Because why would you, like, if it was genuinely like, oh, she was wrongfully convicted, say, I mean, I know you sort of talked about like, let the justice system do the thing, but just in a moment, it's like, like, she hit it.
She hit him more than once, right?
So it wasn't just like one hit, one lucky hit and killed him.
Yeah.
Right.
Oh, yeah.
She killed him.
Like, she absolutely did kill him.
And the other thing, too, of course, is that, and this is the fact that the guy picks on Amanda Seifreed because she's vulnerable, and then Amanda Seifreed picks on Sidney Sweeney because she's vulnerable.
So there's no heroes, but everyone's kind of cute and funny.
All right.
Well, thanks, guys.
I appreciate it.
Okay.
I want to keep the review shorter than the movie, but go on.
Fair care.
I want to put you on the spot, Steph, and be like, okay, so we've got this.
Like, what's my listener to the show?
What's my practical thing to walk away with here for living my life?
Is it like, is it don't, you know, don't trust the state?
There's something more specific.
What can you give me?
You just look, you have to take responsibility for your bad decisions.
You must, must, must take, especially if you're a parent.
You have to take responsibility for your bad decisions.
If you play the victim, you breed more victims.
And it's very tempting to play the victim, particularly for women.
It's tougher for men because nobody gives us any victimhood at all.
Like nothing.
And it's funny because I know men get annoyed at that.
And it's true for white people too.
Like white males in particular, we're given zero excuses.
And that's going to make us tougher and stronger in the long run.
I mean, the fact that nobody gave a crap about my child abuse actually helped me get over it.
If I lived in a world where everyone was, you know, giving me money and hugs and kisses and special consideration, it'd be kind of tough to outgrow it.
So you got to own your bad decisions or you will end up being enslaved because you will expect everyone else to rush to your rescue.
But the only people who are going to rush to your rescue are the people who want to enslave you.
I don't want to stretch the interview or start stretch the review out too long, but give me one character in the movie and how like the one moral choice they could have made to have changed everything there.
Like, where do you think it was?
You know, like in this, an example of like, she could have.
Yeah, the whole thing was, the whole thing was set in motion, at least in the story, by the Amanda Seifreed character throwing herself in desperation at the stud muffin.
So if she had said, look, there's something wrong if this super hot guy wants me.
So let me give you another example from an older movie.
It's one of the Waynes World movies.
Okay.
Dana Carvey plays a character named Garth, I think he is.
And Garth is in a laundromat.
And this is from memory.
So this is like where I could get some details wrong.
But Garth is in a laundromat when this super hot woman starts really heavily flirting with him.
And it turns out she wants him to kill her husband or her boyfriend or something like that.
Right.
So, and he's like, why would she be interested in me kind of thing?
I'm like this metalhead nerd from Scarborough or whatever it is.
Right.
So in the male movies, when a hot woman goes for a mid-guy, it's completely obvious that she's got ulterior motives and that she's she's not just interested in him.
Like it's comedy.
When a hot guy, sorry, when a hot woman goes for a nerdy guy, everybody understands she's a gold digger.
She wants something.
She's manipulating.
She's like, there's something, right?
It's not just honest lust or love or something like that.
So men, we're constantly trained that, you know, if some super hot guy goes, some, some, some, some super hot woman goes for you and you are, you are not all that, then, you know, she wants you for something nefarious.
It's something bad, right?
Or you see this thing where the hot girl asks the nerdy guy out, and then it turns out she was just dared.
It was just a joke.
You know, like it was a humiliation ritual that she had to go through or that he also had to go through in order to for whatever, right?
So men, we're sort of, I think we're kind of constantly trained to have a realistic view of our own level of attractiveness and to be skeptical.
And I think unconsciously, that's kind of what's happening with the women here, but it needs to be more explicit, which is like, you know, like some woman needs to say, oh, because the super hot guy wanted you as a single mom.
Like, what were you thinking?
Like, what did you, like, what did you expect?
This is ridiculous.
How vain are you?
Like, right?
So, so, and then the same thing is like, oh, the super hot guy wants a prison, like a woman just out of prison for murder.
Like, what's the matter?
Like, somebody needs to bounce in in one of these movies and say to these women, like, like, are you crazy?
Why would he, why would he go for you?
You're a single mom and you're literally lactating in his meeting.
And why would he go for you?
You are a murderer.
Right?
Because, because here's the thing that women generally don't understand who've not moved in these kinds of circles.
And I will stretch it out for another minute or two because it's an important thing.
So a top quality man, a high-quality man, needs a woman who adds to his status.
Needs.
Not wants, needs.
So when I was in the business world, and of course I got married to my wife, I could bring her anywhere.
And she was poised.
She was a great conversationalist.
She was witty.
And she was very much a plus to me.
And that helped me without a doubt in my career in the business world.
And so women do not understand that for men, mating is also status.
All they do is say, well, geez, he's got this beautiful house.
He's a hot guy.
And so on.
It's very narcissistic because they're not thinking, okay.
So imagine this guy who's a CEO of a company marries a single mom with a baby, right?
Sorry, that's a bit about because single moms, you could, the kids could be older or whatever, right?
So it's married as a lactating single mom with a baby after knowing her for only uh, I think they knew each other for like a month or something before they got married a number of weeks, yeah, weeks or something like that, right?
Or six weeks, yeah, yeah.
So, so that that news would spread around the business world like wildfire, yeah.
And what would other men and women think of this guy's judgment if this is what he did?
He's retarded, he's an idiot, yeah, he's an absolute idiot.
He got married to a single mom within a couple of weeks of knowing her, he has the judgment sense of a pinball machine, yeah, and it would destroy his career because people like it would just be it would be a joke.
Sorry, I wouldn't trust him with my resources.
No, no, yeah, and if that didn't destroy his career on its own, as soon as she starts going crazy and starts getting institutionalized, there's no way.
Oh, yeah.
I mean, that's, I mean, if it wasn't, if that wasn't enough, they'd be like, oh my God, this guy has terrible judgment.
Yeah.
You know, I could overlook the single mom thing, maybe, but she's, she's going crazy now.
She tried to drown her daughter.
And he's staying with her.
Yeah.
So she literally tried to kill, according to the general, she tried to kill, like, what, what's wrong with him?
Like, there's something seriously wrong with his judgment.
Like, there's something just deeply, deeply fucking weird.
This guy's a masochist.
This guy's like, and he's not even conscious of it and so on.
Right.
And if you bring women without any poise to business functions and business functions exist to check your judgment in your personal life, this is why there's like after, this is why there's like weekends and parties and golf things and this and that and the other.
Because every single person I know, and I'm just talking about the men here, but every single successful male that I know has a poised and high status partner.
And this doesn't mean that she's a lawyer or anything like that.
But, you know, they can be homemakers and, but, but she is educated, whether self-educated or formally, she's a good conversationalist.
She has confidence.
She has poise.
She has, you know, she has some class, some dignity, like whatever it is.
So what's wild is that can you and imagine like, so we go from the first guy to the second guy.
Sorry, first woman to the second woman.
So it's not the schizophrenic single mother who tried to kill her kid.
Now, the second woman is, oh, yeah.
So, so so-and-so, Bob here, oh, he got, yeah, he got remarried.
Oh, who's his new wife?
Oh, she just got out of prison for murder.
Yeah.
So, so women only think about the resources flowing to them.
They don't think about what the man needs, what the man's looking for, or what the man wants in terms of status.
Like, you need a woman who is going to be poised and confident and reasonably a good conversationalist and so on and all of that.
And this is also true.
She needs to know how to host.
Yeah.
Right.
She, you've got a business associate.
Your boss comes over for dinner to your house.
He's coming over because he wants to promote you, but he needs to know if you have a good relationship.
Yeah.
Right.
He needs to know if you have a quality wife.
Because if, well, I mean, for you guys can, I mean, you're very smart people.
Why does it matter if your boss wants to promote you?
Why does it matter what the quality of your marriage is?
Because I need to know what is your long, like, do you, are you, can you think that far ahead in life and make a good judgment call on someone who's going to benefit you and elevate you and work well together?
Like that's your most important relationship, your most important decision you can make in life.
How that is the greatest reflection of your judgment is the person you have chosen to spend the rest of your life with.
Right.
And also, if you don't have a supportive wife, your career is going to self-implode.
Yeah.
Implode.
Yeah, because listen, if I'm going to promote you, you're going to be traveling.
And if your wife is not really supportive of your career and cares about you as a person, then she's going to be needy.
She's not going to want you to travel.
She's going to cause drama.
She's going to cause problems.
You're going to be distracted.
You're not going to get any sleep.
And God forbid, God forbid, I put you in charge of an entire division and then you start going through a divorce.
Jesus.
No, thank you.
Like, no way.
Because people who go through divorces are economically terrible for the most part because they're stressed and tense and worried and they don't get any sleep.
And then they're constantly getting calls.
I mean, I was working with a guy once who was going through a divorce.
We worked in the same room.
And every time his phone rang, his face just went purple.
And he just couldn't, he was like, couldn't concentrate.
It was just terrible because it was just his wife's lawyer with another stupid demand and all of that.
And I remember saying, oh my God, guys, never get divorced.
Like it's not worth it.
Like he was just really messed up when it came to working.
So yeah, it matters.
And so, yeah, I'm sorry to be laughed, but you know, this guy's got a bunch of investors.
They want to put, you know, $50 million into his company and they meet the murderer.
They meet the woman who drowned her kid in the bathtub and they'd be like, oh, God, this is a joke.
So again, this is just another part of I want a guy who makes this is the woman's fantasy.
I want a guy who makes absolutely fantastic decisions, except with me.
Right.
He's flawless.
He's got perfect business judgment, understands the world, investment, running companies, how to provide value.
He makes fantastic decisions in every area of his life, except taking me.
That's the one exception.
But that's not the exception.
That can't be the exception.
Anyway, yeah.
So if you make a lot of bad, like if you mistake, if you make mistakes, like you go kill someone, you're going to have to lower your expectations of who you're going to be with.
If you become a single mother, you're going to have to lower your expectations of who you're going to be with.
Like that's just what it is.
And this person, getting women to don't settle, it's like, no, but you, they don't say, is the man going to settle?
Sorry, Jeff, go ahead.
And the person who would accept you, either like without that kind of scrutiny, there's going to be something.
There's a catch.
Yeah.
Yeah.
Why does he want a woman with no options?
Because she's easier to control.
Just a little bit of an addition here at the end here.
James mentioned after the conclusion of our rabid and extensive view on this, James said, oh man, I wish I had thought of this in the review.
Andrew's mother being the first wave of feminism saying that everything is a privilege.
And of course, we could have done another three hours on that, but I think we'll leave it there.
Yes, she talks constantly about privilege, which is one of the foundations of feminism, male privilege, white privilege, and so on.
Everything is a privilege and that creates monsters.
All right.
And that's true of government.
And like, that's why the single women and the women with kids, the single women with kids and single women, they don't have any choice really but to vote for government because they've got desperate emergencies called lack of resources.
So yeah, the government will praise them, but in return, you have to sell the soul of your entire civilization.
All right.
I think we've ladened enough beasts on the movie as a whole.
But yeah, would you guys recommend you would recommend it for people to watch?
Yes.
Yeah.
Yeah, I would too.
I would too.
Yeah, it's a really solid movie.
Good storytelling, good acting.
You know, I don't think Sidney Sweeney gets enough.
It's tough to do nothing.
And she's a very understated actress.
She can certainly bring out the passion, but she's very understated.
She's a murmur queen and all of that.
And that's not easy to do.
Amanda Seafriel is a great scenery chewer.
The stolid guy has some good humor and some great horrors.
And it's just really, really well done.
And it's a good cautionary tale.
All right.
Freedomaine.com slash donate.
Thanks, guys, for the great chat.
And I look forward to hearing people's thoughts.
And let us know what you think of the movie in the comments below.