Category Archives: excusing abuse
Manosphere philosopher F. Roger Devlin asks: “Is the Violence Against Women Act an attempt to get back at men for their failure to put women in their place?”
You may remember woman-hating white nationalist F. Roger Devlin as the guy who invented “hypergamy” – or at least the misogynistic cartoon version of the concept popular in Men’s Rights and other “red pill” subcultures.
Well, Devlin also has some thoughts on domestic violence, and they make even less sense.
Melbourne hotel boots pickup artist advocating emotional abuse and physical assault. #TakeDownJulienBlanc campaign continues
Julien Blanc, also known as RSD Julien, is a self-described “executive dating coach” seemingly without a conscience. In expensive seminars held in hotels around the world the Real Social Dynamics instructor teaches men to “Make Girls BEG To Sleep With You After SHORT-CIRCUITING Their Emotional And Logical Mind,” as his breathless promo material puts it.
What this means in practice? Manipulation, mind-fuckery and in some cases outright physical assault — none of which he makes any attempts to hide.
NEWS QUIZ: Which of the following comment(s) about pedophilia garnered downvotes in the Men’s Rights subreddit
Popular British TV personality Stephen Fry recently complained to BBC’s Newsnight that he thought the Jimmy Savile scandal has led many to unfairly assume the worst about other 70s era disc jockeys and “light comedians.” He went on to say:
If you want to talk about rock stars, do we have to name the rock stars that we think almost certainly had sex with 14-year-old children? But those 14-year-old girls were so proud of it that they now in their 50s wouldn’t for a minute call themselves ‘victims’.
So here’s a little one-question news quiz:
You all need to watch this music video that deftly rebuts Christina Hoff Sommers on vidya games #GamerGate #PanderingToDickheads
Christina Hoff Sommers is an old school faux-feminist who’s devoted the last several decades to trashing feminism. Lately she’s apparently decided to appeal to a younger audience — or at least a more immature one — by pandering to the #GamerGate crowd.
That’s probably worth a post or two in itself, but in the meantime you might enjoy this excellent song that deftly rebuts the, er, arguments in her recent video about sexism in video games and why she thinks that’s somehow not a real issue because, you know, dudes like to look at boobies when they play games. No, that’s really her argument — though I’m not sure it even qualifies as an argument, technically speaking.
And here’s her original video, if you’re feeling masochistic and would actually enjoy sitting through six and a half very long minutes of simple-minded, patronizing, disingenuous, evidence-free pseudoarguments delivered by someone desperately pandering to terrible, terrible people.
Heartiste – real name James Wiedmann – is a proudly racist, woman-hating “pickup artist” guru known for advocating manipulative and often quite abusive “game” techniques to give men the upper hand in relationships and in the dating market. These run the gamut from emotional abuse – what he calls “dread game,” an elaborate portfolio of gaslighting ploys to keep women feeling insecure and off-balance – to straightforward physical abuse – slapping women “when necessary” to assert “alpha male” dominance.
Now he’s suggesting that wannabe lotharios borrow some tips on how to “game” women from the Duluth Power and Control Wheel, a widely used violence intervention tool designed to fight abuse, not provide a blueprint for it.
The Duluth Wheel highlights some of the most prevalent kinds of abusive behavior. Heartiste mines its descriptions of abuse for dating tips, claiming to find in it “a few curious nuggets of anti-feminist truth about relationships and how to keep them going.”
In his recent post, Heartiste goes through some of the descriptions of abusive behavior on the Duluth Wheel – and recasts them as handy tools for would-be “alpha males.”
Anton LaVey impersonator Davis Aurini makes a “film,” and it’s worse than you could possibly imagine
[NOTE: The original video on Davis Aurini’s YouTube channel was taken down shortly after the post went up. So I’ve embedded the version that is, as of this moment, up on the director’s YouTube channel. I”d recommend that you download this for your permanent collection.]
Ok, so I’ve been working on a post about the latest ridiculous doings of our friends Davis Aurini and JordanOwen42 — the not-so-dynamic duo who’ve been desperately begging for money to make their Totally Serious documentary about how evil Anita Sarkeesian is. But then I watched this, and it’s too good not to post on its own.
This is Lust in the Time of Heartache, a short “philosophical” film written and produced, and just posted on teh Interwebs, by Mr. Aurini. I’m pretty sure it’s not supposed to be a comedy, but I was laughing at it from beginning to end.
There’s nothing about this film that’s not terrible and ridiculous, from the choice of fonts in the title sequence to the names of the characters as revealed in the closing credits.
Where even to start in criticizing this mess? The, er, “acting?” The pretentious, pseudo-philosophical voiceover, delivered by Mr. Aurini himself? The shrill, frantic — yet somehow also meandering — music that plays almost continuously from beginning to end? The ludicrously unconvincing fight choreography? The ill-fitting suits? The evo psych? The dawning recognition that this whole thing is meant to depict how Aurini sees himself in our “fallen” world?
The fact that this ten minute film credits a “parkour consultant?”
I’m going to borrow a couple of lines from Pauline Kael’s famous review of the legendarily stinky 1970 film Song of Norway because they offer a pretty fair assessment of this one as well:
The movie is of an unbelievable badness. … You can’t get angry at something this stupefying; it seems to have been made by trolls.
She means “under the bridge”-style trolls, not the modern kind.
Oh, and the sound is awful, too. NOTE: Dialogue is supposed to be louder than the background noises.
Anyway, just watch it. It’s only ten minutes long. And definitely stay for the final credits. You’ll see why.
But hey, don’t take my word for it. Read this glowing review, from some dude on YouTube:
Excellent writing that encompasses the transitions from one cinematic style to the next. At first I was concentrating on the technical problems and lackluster performances, however, after about 5 mins in, the pacing kicked up a notch. Well done, sir.