Category Archives: men who should not ever be with women ever
These Men’s Rights Activists and GamerGaters get off — literally — by fantasizing about sexually humiliating feminists.
[TRIGGER WARNING: Discussion of rape, violent misogyny]
Today, the easy winner in my informal “Worst Thing I Saw On The Internet” contest is a horrendous little hangout for dudes with a very particular sexual fetish: they like to fantasize about raping and sexually humiliating feminists.
The Breaking Feminist Superheroines subreddit (r/breakfeminazis), with 865 subscribers, describes itself as
The first Sarkeesian Effect “teaser” is a MASTERPIECE of experimental film! Some notes from a BIG FAN
AN OPEN LETTER TO DAVIS AURINI AND JORDAN OWEN UPON THE RELEASE OF THEIR FIRST SARKEESIAN EFFECT TEASER
Hey guys, big fan here.
Just watched your Sarkeesian Effect teaser video. An outstanding job! Even though this is, I know, a rough and unfinished trailer using raw footage from the first couple of days of shooting, it’s clear that this film – this epic journey into journalism, if I might coin a phrase here (you can totally use it!) – will more than live up to your earlier work.
And that’s saying something, as I don’t think I’ve ever seen a ten-minute libertarian suit-wearing-ninja parkour dance fight film better than Davis’ “Lust in a Time of Heartburn.” And obviously – obviously – I’ve never seen such a gritty depiction of YouTube jackass despair as Jordan’s minimalist masterpiece “Dude Lying On Couch in Messy Apartment Complaining That People Aren’t Giving Him Enough Money.”
I just wanted to give you guys some “notes” on it, as I know it is still early in your process.
First off, the production values are a-maz-ing. I realize that after spending money on airfare, hotel rooms, rent, samurai swords, white turtleneck shirts, and whatnot that you probably only had about $25 left to make the actual film. Well let me tell you this: every Canadian penny of that $25 is there on the screen. It’s RIGHT THERE.
Second, SOUND. I will admit you’ve made a bit of an unorthodox choice here. Most documentary filmmakers obviously go for “clean” and “crisp” sound in which you “can actually make out what people are saying.”
But you guys! You zag when everyone else is zigging!
Not since Birdemic: Shock and Terror and, of course, Davis’ own “Lust in the Time of Carpark,” have I seen such an innovative use of sonic muddiness. You guys know that in real life you can’t always tell what other people are saying. Especially if you have a lot of wax in your ears. And fellas, listening to the interviews in your film I felt like I had a whole beehive’s worth of wax in my ears. And possibly a bee or two, though I think that might be a problem on my end.
Ok, I’ll be honest, that’s definitely a problem on my end. I might as well admit it: My apartment is full of bees.
Third, the CINEMATOGRAPHY. Again, the zigging and the zagging. In a time of cheap digital cameras, it is easier than ever for even the most incompetent filmmaker, or, say, any 14-year-old filming a friend lighting his farts, to achieve pristine image quality.
But, like David Lynch, who turned his back on the latest digital technology to make his confusing surrealistic masterpiece Inland Empire with a cheap, consumer grade standard definition digital camera, you have eschewed pristine picture quality in favor of well, let’s just say that it doesn’t look like trained professionals had anything to do with it.
I don’t know if that was what you were going for but if so, NAILED IT!
Oh, and I wouldn’t worry about the blurry white smudgy stuff in the edges of the shot in that Justine Tunney interview. NO ONE WILL NOTICE IT. Seriously, it’s like a five-minute static shot, why would anyone notice anything in the edges of the frames. Was that vaseline? I think Bob Guccione at Penthouse was known for his vaseline on the lens technique. You guys weren’t using the camera to film porn earlier in the day, were you? I kid! What a question! Of course you were.
Speaking of static shots, your choice to film most of the interviews as static two shots – another brave choice. Most people filming interviews would have given us closeups of each of the people in the interview, and cut back and forth, and thrown in some of what the snooty cinephiles call “reaction shots.” You guys boldly went for static shots of two people sitting in chairs.
And that time when you cut from one static shot of two people sitting in chairs to another static shot of the same two people sitting in the same chairs from a slightly different angle? YOU GUYS BLEW MY MIND WITH THAT ONE.
It was also super cool when you did one interview in one particular room with two chairs and followed that up with another interview in the same room with the same two chairs, almost as if you had booked the room for the day and were just running people through it without bothering to change anything up or even move the camera or anything.
That’s the kind of PURE FILMING EFFICIENCY that’s going to enable you to bring this masterpiece on budget. Like Steve Jobs, Bob Hope and Johnny Cash used to say: REAL ARTISTS SHIP!
Some thoughts on the performances.
Jordan Owen was completely Jordan Owenish. I totally bought his character. Jordan, you are a MASTER of whatever it is that you do. Keep it up!
But Davis, you sly dog, I should have figured that someone who looks like a budget version of Anton LaVey would have some tricks up his sleeve! Or should I say “his white turtleneck?” Yes, that’s my way of saying that the costuming was PER-FEC-TION. Not every Anton LaVey impersonator can pull off a shiny suit and white turtleneck but, wow! That’s all I can say: Wow!
As for the performance itself, again some counterintuitive choices here. Most interviewers try to react to their interview subjects a little in an attempt to show “empathy.” Your decision to instead sit stock still and stare relentlessly at your interview subjects was a little jarring – but a good kind of jarring. That’s how you get the good stuff out of your interview subjects! And murder suspects. Stare them into submission!
One of my cats has a similar technique when she wants food, or attention, or, well, let’s just say she’s gotten me to confess to a couple of murders, if you know what I mean, and what I mean is NO I DIDN’T MURDER ANYONE WHY DID I EVEN SAY THAT, CRAP, HOW QUICK CAN I PACK, IS THERE GAS IN THE CAR?
Also I think it was a good idea to mix up the sitting and staring stuff with that whole “erupting into unnatural and exaggerated laughter” schtick. Totally sold your character as some sort of primitive cyborg trying to pass as a human.
Also, amazing prop work with that disposable coffee cup. You gripped it so hard I really BELIEVED that if you let go of it you would have flown off into space — you know, like George Clooney in Gravity. Oh, whoops, SPOILER ALERT.
This is how good your film is: I’m comparing it to freaking GRAVITY. I’m comparing it to freaking Davis Aurini’s “Lust in the Timer of Clambake.”
Oh, and the foley work was spot on as well. That … sound that happens at about 6:10 in? You know, the thing where it sounded like someone was dragging a large rock over cement just out of shot, or maybe like you had swallowed your microphone and your stomach was having troubl edigesting it? That sound is going to haunt me for weeks. I don’t even want to know how you did that. Sometimes mysteries are best left unsolved.
Anyway, outstanding job. I really can’t say anything about any of what your interview subjects were saying, or even remember any of their names except for Justine Timberlake the Slavery Lady. I think it was a combination of that wax-in-ears sound quality and their complete inability to say anything interesting in response to your stupid questions.
But with everything else going on in this film – the static shots, the white turtlenecks, that white stuff at the edge of the shot in that one interview that NO ONE WILL NOTICE, I PROMISE THEY WON’T EVEN SEE IT … well, anyway, with all that going on in the film no one is even going to care what any of your incredibly boring interview subjects said or who they are or why on earth you decided this was a good subject for a documentary or why you even thought you were remotely capable of making an actual professional quality film.
Anyway, I’m sure all of the people who gave you literally thousands of dollars of their own money because they assumed you might actually come up with something that looked vaguely professional will be very proud of you.
I’m assuming, of course, that your final film will be about 4 minutes long, and that half of it will be libertarian suit-wearing-ninja parkour dance fighting to the sounds of Yakety Sax. If not, yeah, no one is going to be able to sit through this crap.
In other words LOVE IT!
Your Biggest Fan
Ladies, your weight is somehow a Men’s Rights issue, and five other lessons drawn from six terrible A Voice for Men memes
Well, I took another look at the A Voice for Men Facebook page. Lo and behold, their little meme makers have been working overtime! So here’s a little gallery of some of their latest work.
I have to admit that these aren’t quite as baffling as the John Galt meme originals we looked at a couple of weeks ago, or these also-very-confusing AVFM memes I posted last spring. But they are pretty darn terrible, in all respects.
Click on the pics to see the originals on Facebook, complete with thoughtful commentary from AVFM’s fans (except in the case of this next one, which I found reposted on an anti-MRA Facebook).
Woman-hating Internet losers attack Malala Yousafzai for … not being a good enough advocate for girls and women
Return of Kings contributor “Billy Chubbs,” whose previous contributions to the wisdom of the ages include posts titled Men Should Not Help Sluts, Bangable Women Can Still Be Gross, and Unmarried Older Women Need To Go Away, has outdone himself in the awfulness department with a post this week attacking 17-year-old Nobel Peace Prize winner Malala Yousafzai as “A Coward And A Hypocrite.”
Apparently inspired by Chubbs’ bold move, the Sarkeesian-hating, Anton LaVey-looking far-right nitwit Davis Aurini has junped on the bandwagon with his own blog post dissing Malala.
We’ll get to him in a minute. But first, Chubbs.
Red Piller: Feminists should support slut shaming to pump up the price of “their biggest asset in the marketplace.”
Monty Python has a famous series of sketches featuring a confused Robin Hood wannabe named Dennis Moore, who ultimately (spoiler alert) ends up stealing so much from the rich that he renders them poor. Confronted by this fact, Moore (played by John Cleese) is momentarily dumbfounded. “Blimey,” he says. “This redistribution of wealth is trickier than I thought.”
Over in the Red Pill Subreddit one fella is having a similarly difficult time trying to understand what’s gone wrong with what he sees as the proper distribution of, well, pussy.
Anita Sarkeesian Cancels Talk at Utah State After Receiving Threat of Another “Montreal Massacre.” [UPDATED with more info from Sarkeesian]
Utah State University has just announced that Anita Sarkeesian has canceled a talk she was scheduled to give at the school tomorrow after receiving a threat of a “Montreal Massacre-style attack” by someone promising ““the deadliest school shooting in American history” if the cultural critic was allowed to speak.
Here’s the official announcement:
Anita Sarkeesian has canceled her scheduled speech for tomorrow following a discussion with Utah State University police regarding an email threat that was sent to Utah State University. During the discussion, Sarkeesian asked if weapons will be permitted at the speaking venue. Sarkeesian was informed that, in accordance with the State of Utah law regarding the carrying of firearms, if a person has a valid concealed firearm permit and is carrying a weapon, they are permitted to have it at the venue.
Emphasis added. That’s right: the school received threats from someone promising to shoot people at a public event, but because of Utah’s gun laws, authorities would not be able to prohibit audience members from BRINGING GUNS to the talk.
#GamerGate activist: Media coverage of death threats against Brianna Wu means “they’re now taking us seriously.”
The screencap above shows a discussion on the still-active #burgersandfries IRC channel about the media coverage of the recent death threats directed at indie game devveloper Brianna Wu.
Apparently any publicity is good publicity, even if your “movement” is getting media attention for being the likely source of death threats against a female developer.
Before some stray GamerGater comes by to inist that this guy “isn’t really a #GamerGater because that’s on IRC,” this seems to be the guy’s Twitter account. As you can see, @Thidran regularly Tweets and retweets comments using the #GamerGate tag or the abbreviation GG; he’s also obsessed with Zoe Quinn. BUT IT’S NOT ABOUT HER WE’VE ALL MOVED PAST THAT.
H/T — r/GamerGhazi for the screencap.
The West is like a stupid white girl who goes home with a black guy: Heartiste and his racist fans warn white “ethnomasochists” of the danger of “ebola laced black men.”
Not content with simply being a misogynist piece of poop, the “game” guru Heartiste is also, among other terrible things, a flaming racist given to hyperventilating about the alleged civilization-destroying powers of people with skin darker than his – and the alleged naiveté of white people who aren’t as racist as he is.
In one recent post, Heartiste awarded “freelance comment of the week” status to a racist rant posted on his site by someone calling himself Anton Chigurh, who thinks Western countries are being wimpy about ebola because they don’t want to offend Africans and seem racist.
“Chigurh” made his, er, argument in possibly the most racist manner imaginable:
So yesterday I discovered a #GamerGate manifesto that started with these dramatic pronouncements:
We are Gamers.
We are alive.
And that was just the opener.