By Olivia Pierson
First published on Incite Politics
Cassie Jaye’s transformation from self-identifying as a feminist to a girl who no longer likes to call herself one is as honest a metamorphosis as I’ve ever seen. And here was I thinking millennials have an aversion to thought.
Jaye shot to fame after making her groundbreaking documentary The Red Pill, where she documents her own journey out of feminism and into a young woman sympathetic to men’s rights activist (MRA) groups such as “Men Going their Own Way” and “A Voice for Men.” This became a journey that Jaye now terms ‘the rabbit hole’.
Jaye started to research MRAs, groups she perceived to be women haters, to try to understand how they had managed to garner so many followers. She believed they were the most aggressively misogynistic men on the planet; men who were regressive in their views and wanted women to be chained back to a 1950s ideal of existing barefoot, pregnant and acquiescent to the male patriarchy (though I would argue that women in the 50s never were quite this way).
Over the course of making the film Jaye found that the facts showed men and boys in feminist cultures are now in crisis. While pouting women like to point out nearly every other day that they are seen as sex objects, men are seen as success objects and they just have to suck it up. That may be one reason why, according to statistics, men on average die a full five years earlier than women do.
Every successful society trains its boys to be disposable – disposable in war as warriors, disposable on oil rigs as workers, as firefighters, as miners and therefore indirectly disposable as husbands and fathers. The power that men have in their different gender role is not the kind of power that feminists like to spin it as. In one year, out of the 4,584 odd people killed on the job, 93% of them are male. Feminism may identify accurately that the world sees male work as more valuable, but it also sees male life as less valuable than female life. Nobody cares that highly dangerous work is nearly always within the purview only of men while women take a free pass, yet women still equally enjoy the products and benefits to civilisation that such dangerous work brings. Jaye’s film references a related observation about the jet airliner expertly piloted by Chesley Sullenberger (Sully) into an emergency landing on the Hudson River: the women and children were rescued off the submerging plane first – this is common emergency practice (the eeevul patriarchy still retains a chivalrous streak it seems).
Then Jaye starts to hear about the legal bias in family courts that heavily favours mothers over fathers, turning the fathers into little more than weekly pay cheques without even visitation rights in many cases – if ever objectification existed, it’s right here.
One man shares his story of a wife with whom he refused to have children because she had a rampant anger problem, which he figured would become a major issue in their relationship if they became parents. He told her he wouldn’t have children with her until she underwent successful counselling. When she tricked him into conceiving a child without his consent, her narrative then became, “You can see your son so long as you stay in a relationship with me.” He opted for separation and entered a custodial battle that went on for fourteen years. She used the child as a weapon of control right down to intentionally keeping their son obese so that he felt he would identify more with her side of the family – who were fatties – rather than with his father’s side. It was also a weapon of control so that he would ‘like’ his mother more than his father, since Dad enforced discipline around eating and outside exercise. Even the son’s physician expressed concern about the boy’s weight, but a judge’s decision was made that Dad was forbidden to weigh his son while the boy was in his care. After too many years of battling for custody with these despicably manipulative tactics in play, Dad got physically sick and gave up the fight, but of course not the alimony payments.
Jaye discovers in her film that tragic family court abuses of fathers like this one are just the very tip of a jagged and mountainous iceberg.
The idea that women and girls are oppressed in our societies by a bogeyman patriarchy is just a dirty lie designed to vilify men. While Western culture indulges in this askew obsession by constantly wailing about perceived inequalities where women are the eternal victims, The Red Pill heroically goes some distance toward setting the story a little straighter.
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