Welcome!

Seeing as this is my first blog post it is appropriate that I write about what this blog will be about and why I’ve chosen to start it.

Since 2013 I have been following political commentary online that primarily focuses on men’s issues and challenges the commonly held narrative of identity politics – i.e. women, gay people, black people, etc. are oppressed and straight white males are the ones who are oppressing them. Whilst issues that affect these supposedly victimised groups are given a fair hearing in society, many issues relating to men such as false rape accusations, domestic violence and family court bias are often ignored by the mainstream media and the public. This has created the illusion that men have privilege that they constantly need to check. The main purpose of this blog is to counter this idea and the whole ideology of identity politics itself.

I am fortunate that I have never suffered from the consequences of political correctness in my own life but I realised that what I was watching and listening to made sense when seeing what was happening to Western countries. I didn’t have that many strong political views before I started on this journey but after watching countless videos and reading numerous books I now have a keen interest in politics and following the ideological conflict between what could be classed as ordinary people with common sense opposing the ‘woke’ social justice warriors that populate education, politics and the media.

The metaphor of the red pill from The Matrix movies is a good description of what happened to me and many other people who were initially ‘blue-pilled’ for most of our lives and then discovered that much of what we were taught throughout our upbringing about identity politics was either inaccurate or a downright lie. My own ‘red-pilling’ came from stumbling upon the videos of YouTube channels such as ManWomanMyth and Chapin’s Inferno (both these channels, sadly, no longer exist). Another film by the Wachowski Brothers (interestingly now Sisters after both came out as transgender) that I think describes my ‘red pill moment’ is V for Vendetta. One scene in particular that stands out is when the character V places domino-sized pieces on the floor and knocks them over to create a ‘V’ image whilst the police detective character describes his revelation about everything being connected. It made me think of things I had seen and heard before I became ‘red-pilled’ and how everything seemed to come together to permanently alter my thinking.

Like everybody else, I have my own take on what I’ve seen and what I think about it and for a long time I considered starting a YouTube channel to get my thoughts across. However, I have been put off from making videos by the increasingly censorious nature of YouTube demonetising or banning content creators on their platform for going against conventional thinking. Also, I think I am better at expressing myself through writing which is why I had subsequently considered writing a book about problems affecting men. Nevertheless, I realised that it would be a waste of time to write and publish something that hardly anyone would read.

I gave up on my book idea but the desire to convey what I am thinking into words has not gone away. George Orwell understood one reason why certain people desire to express themselves through writing in his essay Why I Write many years ago: “Sheer egoism. Desire to seem clever, to be talked about, to be remembered after death…It is humbug to pretend this is not a motive, and a strong one”. This is why I eventually decided to create this blog so that I could comment on these issues and see if what I write will resonate with other people. I cannot claim that what I put on here will be as smart, interesting or have the same level of insight as George Orwell’s writing of course.

Whether people will be interested in reading what I write is something I’ll have to find out as I’m aware that I would get a bigger audience producing videos than writing blogs. I could just be writing to myself but I think doing this will help me to understand my own viewpoint better. The increasing polarisation of politics across the Western world means that there will be plenty for me to write and comment on in the coming months and years if I continue to write here so I am excited to see what directions this blog will take in the future.

All of this is just a long winded way of saying welcome to my blog.

MM

Watching TV with Mystery Man #2: Adolescence

As is often the case with this blog, I’m writing about something sometime after the initial hype and attention surrounding it has died down a little, in this case the Netflix drama Adolescence, which caused such a stir that there were memes about people being arrested for not watching it, reflecting the reaction by certain people in the media to Conservative leader Kemi Badenoch having not watched the show.

So widespread was the attention given to the series that Prime Minister Kier Starmer advocated it being shown to school children across the country. Considering that the main focus of this blog is issues relating to men and boys, I felt I at least needed to watch the series to see what all the hype was about.

The series depicts the case of a 13 year old boy named Jamie being arrested for the killing of a girl of the same age named Katie which appeared to have been sparked by comments made online.

The series is divided into four episodes all about an hour long and which were filmed as a single, uncut take. I’ll write briefly about each episode individually so be prepared for SPOILERS if you are at all interested in watching the series.

Episode 1:

The first episode shows the arrest of Jamie early in the morning following the killing of Katie the evening before. We follow the DCI and DC as they and the police storm into Jamie’s family home to arrest him and take him to the police station. The camera follows Jamie as he is questioned by the police officer at reception where he chooses his father, Eddie, played by Stephen Graham, as his ‘appropriate adult’ and then subsequently meets the solicitor assigned to him. Following this, we see part of Jamie’s physical inspection and then finally his questioning by the DCI and DC about the murder. Jamie frequently denies to his father and the police that he killed Katie but the police eventually show Jamie and his father footage of Jamie attacking Katie on CCTV.

I think the single take technique works pretty well here as we, the audience, are like a fly on the wall watching the police procedural methods leading to Jamie’s interrogation at the end of the episode.

Episode 2:

The second episode, titled ‘Day 3’, follows the DCI and DC as they walk around Jamie’s school to question Jamie’s friends and one of Katie’s friends about the incident and what led to it. We witness the dysfunctions of the school as many of the children are noisy and undisciplined, the teachers are ineffective or not interested and the children spend most of the time watching videos rather than being taught by the teacher. Near the end of the episode, the DCI’s son, Adam, who attends the school, informs his father that Katie had messaged Jamie on Instagram and sent him emojis such as an exploding red pill implying that Jamie was an incel or involuntary celibate. This was in response to Jamie posting explicit comments about female models. It is revealed at the end of the episode that Jamie got a knife from his friend Tommy which may have been the murder weapon.

In this episode, I thought the single take style felt much more of a gimmick and was not really needed here. There were some moments in the episode which seemed to me to have been written simply to utilise the single take technique such as the fire alarm going off leading us to follow the characters outside. Later, the DCI chases after Jamie’s friend Tommy after he jumps out of the (ground floor) window when the DCI decides to question him again. This moment also seemed like it was just included to make use of the single take to create some action.

That being said, the episode concludes with an ambitious tracking shot of the camera moving above the school (by drone I assume) and moving towards the site of Katie’s death where Eddie, who only appears at the end of the episode, leaving some flowers at the memorial made for her.

Episode 3:

The third episode, which appears to have generated the most attention online as well as in the media, takes place 7 months after the murder and follows a psychologist named Briony, played by Erin Doherty, interviewing Jamie at a ‘training facility’ where she is providing an assessment of his case. After some initial jovial talk, Jamie becomes aggressive and threatening at times and tries to intimidate the psychologist. Briony asks him about his relationship with his father and his feelings about masculinity. Jamie mentions his father taking him to football matches although he did not enjoy it and there is some more talk about the online comments Katie had sent to Jamie. There is mention of the ’80-20 rule’ which Jamie agrees with. It is revealed in this episode that Katie’s comments on Jamie’s Instagram were in response to Jamie asking Katie out after a topless photo of her was circulated, causing Jamie to believe that she would feel vulnerable and accept. Instead, Katie rejected Jamie. At the end of the episode, Briony tells Jamie that this would be their last encounter which causes Jamie to becomes agitated and aggressive again.

From my own limited experience of encountering mental health patients, Jamie appeared to me to display symptoms of a personality disorder or some other psychological problem which makes the idea of Jamie being radicalised by the ‘manosphere’ unconvincing. This also makes the idea of Jamie being a representative of modern teenage boys also unconvincing and a little sensationalised.

Episode 4:

The final episode takes place on Eddie’s 50th birthday, 13 months after the killing and follows Jamie’s parents as they try to deal with the aftermath of their son’s crime. The atmosphere is initially light-hearted until Eddie and Manda’s daughter Lisa discovers that some other boys had spray-painted the word ‘nonce’ on Eddie’s work van. He decides to go to a hardware shop to buy some cleaning products to wipe the spray paint off but buys some paint instead. The man in the shop recognises him and says that he believes that his son is innocent. This causes Eddie to become agitated, which is exacerbated when he sees the boys who spray-painted his car outside the shop and attacks them. On the drive home, Jamie calls his father to wish him Happy Birthday and tells him he’s decided to change his plea from innocent to guilty. When the family return home Eddie questions if he is responsible for Jamie’s actions and we learn that Eddie’s father beat him as a child.

The series ends with Eddie bursting into tears as he looks around Jamie’s bedroom and tucks in a teddy bear on Jamie’s bed, essentially a surrogate for Jamie, and apologises to it.

Similar to Episode 2, the use of a single take again felt a bit unnecessary in this episode although it worked better here than in the school.

Summary:

Overall, Adolescence is a mini-series that has more style than substance. While the use of a single continuous shot in all four episodes was certainly impressive, it worked better in the self-contained environments of the police station and facility shown respectively in the first and third episodes than in the second and fourth ones. This technique is also not as ground-breaking as some people think. Alfred Hitchcock, after all, used a similar style in his film Rope back in 1948, albeit as a series of long takes stitched together. Other films which have used the same technique include 1917, Russian Ark and Boiling Point (which also stars Stephen Graham).

Similarly, while the acting was impressive for the most part, the content was fairly pedestrian. As I noted above, Jamie seemed to have some psychological issues which would contribute to his violent crime, but the series and the general reaction towards it implies that Jamie was a normal boy who turned violent by what he was viewing online. As Janice Fiamengo notes in her review of the show on her Substack, despite references to the ‘manosphere’ and Andrew Tate, the show never explores these topics beyond a brief mention, and takes aim at masculinity instead. The series implies that Jamie’s aggressive behaviour is a product of seeing his father’s own outbursts of anger, such as on one occasion destroying the family shed.

A cynical person might suggest that the inclusion of conversations about the internet was simply a way to draw viewers to the show rather than attempting any meaningful explanation to issues that affect boys like Jamie.

Adolescence could have easily just been a TV drama about a teenage boy killing a teenage girl and how his parents and the community react to it; the kind of drama you might watch on a Sunday evening on ITV. It may have received acclaim for its technical achievements and acting but wouldn’t have had the hype surrounding it had it not jumped on the toxic masculinity bandwagon.

In short, don’t feel like you have to watch this series unless you absolutely want to.

Watching TV with Mystery Man #1: Derry Girls (Part 3)

Derry Girls is also interesting in its portrayal of fathers and father figures although we only see Erin’s and Claire’s fathers on the show. Unlike in many sitcoms, in which fathers are usually depicted as stupid, incompetent, selfish, crude or all the above, Gerry, Erin’s father, is often the most sensible member of the adult characters, who make up their own ‘gang’ alongside the main teenage characters. This group is usually the focus of the show’s subplots and consists of Erin’s parents Gerry and Mary, her Aunt Sarah and her grandfather Joe. In this group, Gerry is usually the voice of reason and often gets ridiculed and shouted down by the others, particularly his father-in-law Joe who has an intense dislike for Gerry.

Although Gerry has shades of the ‘henpecked husband’ comic stereotype – Mary is usually the more dominant parent towards Erin, reflecting the so-called ‘mammy culture’ prominent in Derry, or as Erin puts it in one episode: “Da’s (Dads) are in the pocket of Ma’s (Mums)” – Gerry is usually able to stand up for himself and Mary often tries to defend him from her father.

In Series 2 episode 3, the girls and James want to go to see the 90s boy band Take That in Belfast but are forbidden from going because there is an escaped polar bear on the loose (yes really). The girls try to talk Mary into letting them go (as Orla points out, the polar bear wouldn’t be able to get a ticket to the concert – “they sold out months ago!”) but Mary refuses. While Mary, Joe and Sarah are worried about the polar bear, Gerry believes their fear is overblown:

Gerry: The concert’s nowhere near the zoo.

Joe: But he’s not in the zoo anymore, is he, Simple Simon? He’s sauntering around Belfast, without a care in the world!

Sarah: Aye, keep up Gerry!

Gerry: What I’m saying is that it would be quite a lot of ground for him to cover.

Mary: They’re quick on their feet when they want to be, love.

The girls (and James) manage to get to the Belfast concert alone by tricking their mothers into thinking they are going to each other’s houses. The mothers realise at the end of the episode what their children have done and vow to punish them if they can get proof the girls have gone to the concert. Gerry, watching TV in the living room, sees his daughter and her friends during news coverage of the concert and just laughs quietly, implying he never tells his wife and the other mothers what he’s seen and is given a rare ‘win’ in the series.

James, like Gerry, performs a similar function in the main group of characters in that he is a bit of a punching bag for the others – particularly his cousin Michelle – but who often acts as a voice of reason as well. In Series 1 episode 2, Michelle accidentally sets some curtains on fire and tries to put out the fire by pouring alcohol on it! Although Erin points out the stupidity of this, it is James who thinks about getting a fire extinguisher to put it out. However, unlike, Gerry, James is less willing to stand up for himself possibly because he is more of a fish out of water having grown up in London rather than Derry. James nearly returns to London when his mother comes to see him and the girls are visibly upset at the news showing their fondness for him. Michelle, despite constantly berating James, convinces him to stay and tells him he’s a ‘Derry girl’ now.

Erin’s and Orla’s grandad Joe is also portrayed as a respected father figure. He is often seen looking after Erin’s baby sister and is looked up to by his granddaughters and daughters. An episode in the second series shows the girls attending a 1950s style American prom at their school and, as it’s an all-girls school, they have to invite a boy to attend the prom. Orla, takes her grandad Joe and says: “everyone kept saying you had to take a fella you really like and he’s the fella I like the most.”

Although Joe is regularly rude and hostile towards his son-in-law Gerry, which may mean he comes across to some viewers as an unlikeable bully, it is implied that Joe likes Gerry more than he lets on. A scene in the last episode of the first series shows the adults solemnly watching news on TV of a bomb attack. Joe comes in behind Gerry and puts his hand on Gerry’s shoulder – a nice piece of subtlety which is more effective than if Joe was shown openly expressing any affection towards him. One episode in the first series suggests that Joe feels competitive towards Gerry over who is the ‘man’ in the family of mainly women which might explain some of his belligerence towards his son-in-law.

In the final episode, which is set during the Good Friday agreement, Erin asks her grandad for advice on how to vote in the referendum on the agreement (this vote again is something I didn’t realise happened until I watched this show) as she is undecided. Erin asks Joe what if it’s doesn’t work and Joe responds:

“And what if it does? What if no one else has to die? What if all this becomes a ghost story you’ll tell your wains one day? Hmm? A ghost story they’ll hardly believe.”

The clip can be watched here.

Joe comes across here as a wise old patriarch whose advice Erin presumably takes. This is likely reflected in Lisa McGee’s own feelings of the Good Friday agreement – that it was ultimately a good thing. Columnists such as Peter Hitchens however, have viewed the agreement as an act of capitulation and surrender to the IRA on the part of the British as he explains here. As I said, I don’t enough about the Troubles to have a strong position either way but I can see both sides of this argument.

I was still a child when the Good Friday agreement was signed in 1998 which effectively ended the Troubles (although I only found out recently that the Omagh bombing occurred afterwards) so I don’t remember hearing about the conflict in Northern Ireland in the news and only experienced it in retrospect from lessons in school and college – this included having to watch the film Bloody Sunday in different classes on no less than 3 occasions! 

Other male characters on the show include Erin’s Great Uncle (and Joe’s brother) Colm, the young “down with the kids” priest Father Peter, cousin Eamonn (mentioned previously) and the unhinged corner shop keeper Dennis. Rather than being laughed at for being men, these male characters are funny because of their individual personalities. Uncle Colm, for example, is a man so boring that he makes a dramatic story about some IRA men who ambush him in his own home, tie him to a radiator and steal his van sound tedious to his listeners. This is also another example of the show’s contrasting the mundane with the dramatic as described in the first part.

Having looked at Lisa McGee’s Twitter/X page, she has all the ‘right on’ politics you would expect from a TV writer – i.e. feminist, pro-EU, etc. – and she appears to be friendly with certain establishment political figures such as Chelsea Clinton, the daughter of Bill and Hillary Clinton which led to a rather pointless cameo by Chelsea Clinton in the final episode (a reference to a previous episode set during Bill Clinton’s visit to Derry in 1995). That being said, McGee’s portrayal of male and female characters suggests to me that she likes at least some men and doesn’t have a chip on her shoulder about women’s issues.

McGee’s writing reminds me a little bit of that of John Sullivan, the writer of the classic sitcom Only Fools and Horses in that both shows feature memorable and larger-than-life characters who you can imagine being real people – and are no doubt based on real people – and who are specific to their respective locations of Derry and London. In other words, you cannot picture these characters existing in a different setting to the one they inhabit.

I expect teenagers in the future will be shown Derry Girls during lessons about the Troubles much like I had to watch Bloody Sunday although they may have a better time watching a sitcom than I did watching that particular film. I think the show will be remembered in years to come much like Father Ted still has a loyal cult following partly because Derry Girls already takes place in the past so will not be considered dated.

The show also does a good job of portraying female friendships without it coming across as solidarity against oppressive men unlike other films/TV shows I’ve come across which focus on women. This is probably because Northern Irish women (and men) had more important things to worry about such as whether they or their loved ones could be killed in a bomb attack rather than trivial feminist concerns like if there were enough women fighting in the IRA or British Army.

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Watching TV with Mystery Man #1: Derry Girls (Part 2)

As already mentioned, Derry Girls writer Lisa McGee is not afraid to make jokes at the expense of female characters like the teenage protagonists. Although there is a lot of talk about how supposedly more mature girls are than boys – which, even if this is true, is still not mature compared to older people – Derry Girls portrays teenage girls like Erin, Claire, Michelle and Orla as being impulsive, melodramatic, childish, delusional, and troublemaking.

Erin, for example, is a social justice warrior before the word had ever been coined. Although she portrays herself as worldly wise and progressive in her thinking, she quickly reverts to the opposite behaviour if she is placed in a situation where she must walk the walk as well as talk the talk. In one episode, Erin is working on the school newspaper and finds a story written by one of the pupils confessing anonymously to being a lesbian. This is later revealed to be Erin’s best friend Claire (because, it seems, all shows nowadays are required to have a least one gay character). Despite Erin campaigning for ‘gay rights’ at the school, as soon as Claire ‘comes out’ to Erin by revealing that she wrote the essay, Erin tells her “don’t come out, go back in!” and assumes Claire is attracted to her saying “I’m not interested in you, not like that!”

Another episode features the characters encountering some gypsies but Erin insists that the gypsies should be called “travellers” and that it is “insulting” and “racist” to call them gypsies. When one of the gypsy/traveller men approaches the characters however, Erin and the others instantly feel threatened and start to run away.

Erin’s best friend Claire is the most sensible of the girls but is also prone to been easily stressed and hysterical. Like many teenagers, when Claire is teased for being too boring and level-headed, or, as the girls put it, a “crack-killer”, she will act out in response. While I noted above that gay characters on films and TV shows have become so ubiquitous that it sometimes feels like there is a diversity quota at work, Claire is a character who just happens to be a lesbian rather than a ‘lesbian character’. In other words, her sexuality is only a small aspect of her overall personality and is largely unimportant.

Erin and Claire’s other friend Michelle is the most impulsive and rebellious of the four and is the one most likely to get the other characters into trouble. As well as her preoccupation with sex, Michelle is also frequently belligerent towards her cousin James who she resents partly for his Englishness and her being forced to live with him.

Erin’s cousin Orla is the simplest and oddest of the girls and is usually unaware of or indifferent to what is going on around her, much to Erin’s annoyance.

The show is also, to use a modern phrase, very ‘heteronormative’ compared to other contemporary female-driven shows. Unlike Claire, who’s gay, and Orla, who is child-like and thus asexual, both Erin and Michelle are shown to be attracted to men and boys their own age and try to get their attention. In the first episode of Series 2, the All-Girls school goes on a trip to collaborate with an All-Boys Protestant school at a ‘friends across the barricades’ event which leads to Erin and Michelle attempting to pull some of the boys. Here there is another subversion of a common trope – instead of teenage boys embarrassing themselves to impress/get off with the opposite sex who are portrayed as more sensible and level-headed, it is the girls who make fools of themselves and cause the boys to be unimpressed.

Here’s one exchange:

Sister Michael: OK, listen up people, according to this you’re going to need a, well, they use the term ‘buddy’, for tomorrow’s activities

Michelle: I bagsy Harry

Erin: What, but that’s not fair, he’s the only good looking one!

Dee: The rest of us are right here.

Michelle: You snooze, you lose Erin.

Erin: (To Dee) I suppose I’ll have you, then.

Dee: Aren’t you a charmer.

Later, Erin awkwardly tries to ‘come on’ to Dee and he tells her he thought she was having “some sort of breakdown” when she advances towards him. It could be argued that this is unrealistic given that teenage boys/men have a higher sex drive than teenage girls/women and so are more desperate to ‘score’ (as characters like Beavis and Butthead would put it) with the opposite sex – a teenage girl like Erin making advances towards a 16 year old me would be like all my Christmases come at once –however I think this makes more sense within the context of the situation. Erin had effectively insulted Dee previously as shown in the above exchange and Northern Ireland in the 1990s would have been a more religious place than it is now so the boys may well have been told that sexually assertive girls like Michelle (and to a lesser extent) Erin were bad news. Also, Harry – whom Erin and Michelle both fancy – wears a purity bracelet indicating a pledge to have no sex before marriage and he turns down Michelle’s offer to “go somewhere more private” in the same scene.

Despite the girls’ flaws, they are still likable characters and are shown to be caring and supportive towards each other, especially in the show’s more dramatic moments.

While Erin’s and Orla’s mothers, Mary and Sarah (who shares her daughter Orla’s general cluelessness) are shown to be caring and attentive parents, Lisa McGee is also not afraid to portray certain mother characters in an unflattering light. In one episode, Mary and Sarah’s aunt Bridie – their mother’s sister who, according to their father Joe, “couldn’t stick her” – makes an appearance at a family wedding and is depicted as being a sour and possessive mother to her son Eammon (portrayed by Father Dougal himself Ardal O’Hanlon).

I like this exchange when we are first introduced to Bridie and Eammon. Mary asks her cousin if he’s seeing anyone and if there is another wedding on the cards:

Eammon: I’m not seeing anyone.

Mary: Plenty of time, I suppose.

Bridie: Eammon’ll never marry.

Gerry: Is that a feeling, Bridie, or an instruction?

Mary and Bridie have a confrontation later on and Mary tells her: “Drop dead, you spiteful old hag!” which Bridie subsequently does!

James’ mother (and Michelle’s aunt) Cathy makes her only appearance in the show during the last episode of Series 2 and is another mother who is not portrayed favourably. Before James was born, Cathy had left Northern Ireland to have an abortion in England but instead chose to have James (“lucky for you eh James!” as Michelle says in the first episode!) and stay in London. It is hinted that Cathy left James with her sister (and Michelle’s mother) in Northern Ireland shortly after getting divorced from James’ stepfather suggesting that she was not prepared to look after James by herself. This is disapproved of by Mary who believes Cathy “abandoned her wain.”

Cathy has only one prominent scene in the episode she appears in but it’s testament to how good both the writing and acting is in this scene that we get a sufficient understanding of her character from it.

Cathy speaks in a Northern-Irish/English hybrid accent (which may well be an affectation) and has little affection for the city she left for London. A commenter on the YouTube video of this scene makes a good point that, while Cathy is affectionate towards her son, she barely looks at him whereas James always looks at her. This suggests that her affection for him, like a lot of things about her, is very shallow.

In the previous episode James mentions that he used to watch Doctor Who with his stepfather when he was little suggesting that Cathy’s husband made an effort to be involved in James’ life despite James not being his biological son. Many single mothers like Cathy would be grateful to marry a man who was willing to take on raising a child that wasn’t their own but Cathy explains:

Cathy: Paul, my ex, well, he just became so controlling.

Mary: Jesus, really?

Cathy: He was unbearable towards the end. It was always, ‘Oh Cathy, why did you stay out all night?’ or ‘Who was that man you were having dinner with, Cathy?’. He was very insecure.

Mary: Wonder why.

Cathy: I mean James’ father was the same. I just seem to attract the possessive, jealous types. I don’t know what it is.

This is the only occasion when James’ father is mentioned and since very little information is revealed about him, we could speculate on his involvement with Cathy. Is James’ real father even aware James exists? Is Cathy sure that the man she calls James’ father really is his father?

Although there is constant talk about ‘feckless fathers’ there is rarely discussion about men who form a relationship with a single mother and become close to her children, only for the mother to leave the man and sever the relationship he has with her children. Could such women be called ‘feckless mothers’?

You can watch the scene in question here (the relevant bit starts around 1:26)

Although Cathy is not an entirely bad character (she did, after all, decide to keep James rather than have an abortion) she is certainly self-centred and superficial. Perhaps because Lisa McGee isn’t focussed on feminism in the show, we get a depiction of a single mother that many feminists and modern viewers would be uncomfortable with in a different context.

After the girls and their mothers, the most notable female character in Derry Girls is the headteacher of their school, Sister Michael. Sister Michael is a nun who acts as a kind of authority figure towards the girls but is also a bit of a rebellious figure in her own right. For example, it is hinted in one episode that Sister Michael doesn’t really believe in God and she is shown in another episode to be subtly supportive of the girls’ efforts to get Claire’s anonymous essay confessing to being a lesbian published in the school paper despite publicly opposing it. This indicates the show’s more progressive or ‘woke’ leanings, but, as with the Troubles, religion in Derry Girls is more in the background albeit a prominent feature of the characters’ lives.

Watching TV with Mystery Man #1: Derry Girls (Part 1)

The late writer Christopher Hitchens once caused controversy by suggesting in an article for Vanity Fair that women weren’t as funny as men because, unlike men, women didn’t have to learn to be funny to impress the opposite sex. Not surprisingly, this caused a stir and led to an angry response from many female comedians. Whatever the veracity of Hitchens’ argument, in recent years, there has been an increase in female-written and female-led sitcoms on our TV screens including Fleabag, Girls and the Channel 4 sitcom Derry Girls.

Like its fellow Irish sitcom Father Ted, Derry Girls has become one of Channel 4’s most successful comedies and has even fans such as the legendary film director Martin Scorsese. The show depicts the lives of four teenage girls from Derry (or Londonderry) and an English boy during the last years of the ‘Troubles’ in 1990s Northern Ireland. The ‘Derry Girls’ consists of Erin, her eccentric cousin Orla, their friends Claire and Michelle, and Michelle’s English cousin James. The characters attend an All-Girls Catholic School (which James is forced to go to as well) and this school, in addition to Erin’s family home, is where most of the series takes place. The other primary characters include Erin’s parents Mary and Gerry, her Aunt Sarah (Mary’s sister and Orla’s mother), her Grandad Joe (Mary and Sarah’s father) and the headmistress of her school, Sister Michael.

I stumbled upon the show on TV and initially watched it, I’m embarrassed to say, due to fancying the actress who plays Erin, Saoirse-Monica Jackson. This could sound dodgy considering that Erin is a sixteen-year-old girl but in real life Jackson is only three years younger than me. I’ll include a link to a photo of her (obviously helped by make-up and photography techniques) to see if the reader can see any appeal.

https://popularnetworth.com/saoirse-monica-jackson

Although Derry Girls is a female-dominated show (no surprise there) created and written by a woman, Lisa McGee, it is, for me, one of the few recent TV shows/films to have this distinction which can be watched and enjoyed by men, even those who consider themselves, as I do, to be ‘red-pilled’ about feminist dominance and misandry in popular culture. This is largely because the show inverts the standard trope of ‘stupid men/boys, sensible women/girls’ found in a lot of comedy so that most of the female characters are the butt of the joke rather than just the male ones. The show can be compared slightly to another successful Channel 4 sitcom, The Inbetweeners, and is probably the closest there will ever be to a female equivalent. Erin, being the main character, bears some similarity to the character of Will in The Inbetweeners, whilst James is similar to Simon, the sex-obsessed Michelle bearing some similarities to Jay and the simple/childlike Orla being like Neil.

The show is also unusual for having a group of female characters with one token male character again inverting a common trope of a token female character with a group of male characters seen in sitcoms like Seinfeld, 3rd Rock from the Sun, Black Books, The IT Crowd and It’s Always Sunny in Philadelphia. The fact that the token female example is a lot more common (and is also evident in many pop/rock bands) might indicate that it’s easier for a woman to be part of a predominantly male group than the opposite. Whatever the truth of these mixed-sex group dynamics might be a topic for another day, however.

Derry Girls is also different from most contemporary female-driven comedies in its source of humour. Rather than being a soapbox for women’s issues, much of the humour of the show is driven by the main characters’ focus on their humdrum adolescent experiences in contrast to the dramatic backdrop of the decades-long conflict in Northern Ireland. The girls live with the occasional threat of bombs and British soldiers patrolling parts of the city but spend most of their time behaving like teenagers and having the same thoughts and desires as other girls/boys their age in other parts of the world. The adults of the show are no different: roads which are closed off due to a potential bomb threat are treated like annoying inconveniences much like a traffic jam might be; in one episode a neighbour shows the girls his new double glazed windows while the Protestant Orange Order can be heard marching outside. In another episode, following a news report on TV about peace talks breaking down, Erin’s mother, Mary, complains:

“I can’t take it anymore. All these false promises. Waiting week after week hoping today might be the day, only to be disappointed.”

It turns out, however, that she’s talking about not getting a wheely bin promised by the council rather than reacting to the news. This, in some ways, reflects how historical events actually occur: a major news story is reported on TV/radio/internet providing the background noise whilst most people deal with their own mundane existences.

This generally nonchalant attitude of the characters to the conflict is not to suggest that the show downgrades or mocks the seriousness of the Troubles as there are moments where the show takes a more somber tone. Lisa McGee, having grown up in Derry, based the series on her own experiences so the behaviour of Erin’s family and others is likely a reflection of how people acted at the time. It could be argued that this depiction is a kind of commentary about how violent and drawn out the conflict had become that people were forced to adapt to it. In this regard, Derry Girls could be labelled a comedy drama rather than a sitcom.

Another source of humour in Derry Girls, and a likely contributor to the show’s popularity, is the idiosyncrasies of Derry and its inhabitants. While I’ve never liked the assertion that ‘X’ location is “another character in the film/TV show”– in this case, “Derry is another character in the show” – as I think it’s the sort of empty platitude critics like to say to sound clever and insightful, the location certainly makes the show distinctive, not least in the characters’ accents and slang words. Outsiders may need subtitles and a glossary to work out what the characters are saying at times. Words like “now” and “car” are pronounced “noy” and “cyah” for example (if that sounds a bit patronising, I’m from Yorkshire so feel free to read this in a mock ‘ee by gum’ voice).

Examples of slang prominent in the show include calling sex or an attractive person a ‘ride’, a stupid person is a ‘dose’, to be sick/throw up is to ‘boke’, an expression similar to ‘pull the other one!’ is “catch yourself on”, a child or young person is a “wain” (i.e. – wee ‘un – wee one – little one – child) and anything good is ‘cracker’. While the accent and slang may alienate some viewers, for many others it makes the show and characters unique and interesting. Without getting too political, the desire and appeal for distinctive places and people as shown here is, I believe, one of the motivations driving the nationalist impulses that led to Brexit and Donald Trump even if many fans of Derry Girls, and the writer Lisa McGee, are in opposition to both these political events.

Male Predators, Female Whores

I saw this post from Richard Hanania the other week on Twitter/X in response to an article about a woman who had sex with several 15-year-old boys and was impregnated by one of them. Hanania also linked to a post he wrote on his Substack last year: Comments – Hitler, Demi Moore, and Other “Pedophiles” (richardhanania.com)

Hanania argues that women who have sex with teenage boys should not be imprisoned due to differences in male and female sexuality. From his Substack post:

“The idea that teenage boys can be victimized by older women, like the demand that men only be attracted to women of their own age, can only exist in a culture in which many aspects of heterosexuality are repressed, if not demonized. Blank slatism is the common thread here, and it’s warped the culture in ways that I suspect are tied to the sex recession, the decline of marriage, falling birthrates, and general misery among young people.”

 Hanania also writes:

“This isn’t worth worrying about simply because it’s a great injustice that women who have sex with underage boys go to jail, even though of course it is. If you think teen boys can be victimized by adult women, it’s a sign that your views about human sexuality are so disordered that it’s bound to affect other areas of life.”

Another individual I follow on Twitter/X made a similar argument about a different case of a young woman having sex with a teenage boy a few months ago but deleted the post after getting backlash in the comments. Predictably, a similar controversy has erupted in the comments over Richard Hanania’s post.

Hanania’s argument here highlights to me an issue I have people who constantly talk about the ‘blank slate’: sex differences are used to justify certain individual’s (usually women’s) actions and any objection to the justification is met with accusations that you believe in the blank slate yourself. It’s like a black and white “you’re either with us or against us” type of mentality.

To be clear, the blank slate is wrong and should be challenged, but that doesn’t mean you can’t debate apparent differences between the sexes (within reason obviously, it would be a waste of time debating whether or not men can get pregnant for example).

Underneath Hanania’s black and white thinking and attempts to be edgy however is a point that I think men’s rights activists/manosphere guys need to accept: because of differences between men and women, most people will not respond to women having sex with teenage boys the same way they would about men having sex with teenage girls. The same problem arises when trying to argue that men can be victims in general.

It is true, for instance, that men have a higher sex drive than women and are usually physically stronger than women. You can’t talk about to what extent men can be victims of sexual abuse by women without taking these two facts into account.

Also, it is undeniably true that a sexual fantasy of a lot of teenage boys is to have sex with an attractive ‘experienced’ older woman as evident by the term ‘MILF’ – which stands for ‘Mother I’d Like to..’ well you can guess the rest. Possibly the most well-known example in popular culture is ‘Stifler’s Mom’ in the American Pie films who has sex with one of the main characters in the first film and then in the subsequent films. In this case, the character is probably 17/18 (and the actor likely older).

On the other hand, what I think Hanania, and others who make the same kind of arguments as him, overlook is that many societies in the past would not have approved of older women having sex with teenage boys either. I mentioned in a post about Louise Perry last year that previous civilisations have portrayed female sexuality in threatening ways, such as the sirens in Greek mythology. However, such civilisations would not have labelled female sexual predators with words like paedophile. They would have likely used a different word.

I’ll use a word that is now considered not only politically incorrect but also very misogynistic: whore. You could sound like a fanatical preacher if you said the word in conversation but I can’t think of another word that can explain the type of female sexual behaviour that could be viewed as the equivalent of male sexual abuse. ‘Whore’ is what I believe people in the past would have labelled women like Rebecca Joynes and it is a useful word to describe the type of older women who typically have sex with teenage boys. Note that whores can be very sexually attractive just as male sexual predators can be very handsome and appealing to women.

An even more taboo notion is to suggest that some young women and teenage girls who have had sex with older men could also be called whores and would have been labelled as such in the past.  To be absolutely clear, I am talking about women/teenage girls who willingly have sex with older men rather than women/girls who have been sexually abused by men.

As I was writing this I realised that there is a sexual double standard that complements the well-known double standard of promiscuous men being seen as ‘studs’ whereas promiscuous women are seen as ‘sluts’. While the promiscuity double standard benefits men, there is a sexual double standard that benefits women: predatory men are often seen, understandably, as dangerous, creepy and abhorrent, whereas predatory women can be viewed more positively as seductive, powerful or even admirable. I realise that neither double standard is a cast iron rule, as promiscuous men can and have been condemned by societies just as predatory women can be.

However, this realisation led me to think of labels to differentiate negative male and female sexuality: male predators and female whores. Promiscuous (i.e. whorish) behaviour from men is usually deemed less problematic just as sexually predatory behaviour from women is. This likely has its roots in biology which I won’t bother going into here.

Both predatory and whorish behaviour nevertheless have similarities. For example, here’s a list of behaviours that I believe a female whore (or, if you like, a slut/harlot/jezebel/skank/tramp) would engage in:

  • Sexually aggressive
  • Has lots of promiscuous sex
  • Has sex with underage boys as an older (20s-40s) woman or with older men as a younger (15-20) woman
  • Forces herself on men who don’t want to have sex with them using alcohol/drugs/etc
  • Has unsavoury kinks and fetishes

The above examples could describe the actions of a woman who would otherwise be labelled a ‘rapist’, ‘paedophile’ or sexual abuser’. However, those words are so closely related to predatory (i.e. male) behaviour that it is hard for most people to relate to them the same way when they are used to describe female sexual predators.

There may be a better (and less loaded) word to describe negative female sexual behaviour rather than ‘whore’ but I think that using a specific word as a female equivalent to ‘male sexual predator’ would be an effective way in getting people to take sexually abusive actions by women against men more seriously. Trying to use the same terms we use to describe male sexual abuse against women for the opposite is like swimming against the tide.

In other words, instead of trying to work against double standards – e.g women can be sexual predators just like men! – it’s better to work with the double standard that benefits men – e.g. promiscuous women are sluts/whores, whores force themselves onto men, teenage boys etc.

Let’s consider a case where an attractive woman forces a man to have sex with her by incapacitating him in some way. If the man is labelled a victim, a lot of men would say “I wish it was me” or some other silly comment. Instead, if you labelled the woman a whore, and ask men who joked about it why they are defending a whore, then you put the spotlight back on the woman’s behaviour and can call it out from a position of strength instead of weakness.

To what extent whorish behaviour from women should lead to prison sentence is worthy of debate but it should be at least condemned by society if it isn’t by the law. Since women typically fear social stigma and shunning more than men, using the ‘whore’ label would be a useful way to condemn female sexual abuse.

I replied to Richard Hanania’s Twitter/X post suggesting that Rebecca Joynes was probably a narcissist or someone with borderline personality disorder (as many female whores and male sexual predators likely are) and that he shouldn’t white knight for her.

My advice to anyone who wants to respond to people defending women having sex with teenage boys is simply to say: “she’s a narcissist/borderline” or, if you’re feeling bold, “she’s a whore.”

The Curious Case of Emma Humphreys (Part 3)

This post is published on the 25th Anniversary of the Emma Humphreys Memorial Prize (9th February). What better way to celebrate this milestone than to read the final part of my exploration of Emma Humphreys’ life and legacy?

As she was only 18 at the time of the trial, Emma was sentenced “at Her Majesty’s pleasure” meaning that she was given an indefinite sentence. An appeal in 1986 proved unsuccessful. Later, according to VennerRoad, Humphreys wrote to Justice for Women after hearing about their campaigning for the release of Kiranjit Ahluwalia, a woman who had burned her husband alive in 1989 after apparently suffering years of abuse at his hands. Ahluwalia’s appeal to have her conviction changed from murder to manslaughter was successful and she was released in 1992. Justice for Women, founded by lesbian feminist couple Julie Bindel and Harriet Wistrich, have campaigned for the release of women like Kiranjit Ahluwalia and Emma Humphreys (VennerRoad acknowledges, nevertheless, that Humphreys and Ahluwalia’s cases were very different) since 1990 and succeeded in securing Emma’s release in 1995.

Humphreys’ instability and impulsivity, evident before her conviction, revealed itself again following her release from prison. According to Bindel’s and Wistrich’s recollection, Emma “ran wild” following her release – indulging in drugs and picking up men like she had done prior to her stabbing Trevor Armitage. VennerRoad provides a quote from Wistrich where she recalls an incident where herself and Bindel had to turn Humphreys away “from our house at 5am with nowhere to go” showing that even they couldn’t tolerate some of her behaviour. However, Julie Bindel and Harriet Wistrich perceive Emma Humphreys’ actions to be the result of trauma from her time in prison and everything that had happened to her before, effectively robbing Humphreys of any agency.

Just like before her imprisonment, Humphreys was in and out of several accommodations due to being disruptive and challenging. Imagine what she was like with Trevor Armitage! I have read some accounts about Humphreys which describe an appearance on a radio show (Woman’s Hour perhaps?) at some point after her release where she talks about being in another abusive relationship with a man and stating that “if he doesn’t hit you, he doesn’t love you” which resulted in the interview abruptly ending! However, I can’t confirm if this really happened because I haven’t found evidence showing if/when this interview took place.

Nevertheless, there is footage of Humphreys on the day she was released from prison in this video with the rather dubious title ‘Emma Humphreys – An Inspiring Legacy’. Humphreys can be seen being cheered by a crowd of women while balloons with the Suffragette colours of green and purple drift up in the air; I find this detail rather appropriate as, like Emma Humphreys, many of the Suffragettes engaged in acts of violence and so were not as heroic and ‘inspiring’ as feminists have presented them as been.

Judging from the video, Humphreys comes across as a little childlike and not particularly intelligent. However, this may have been the result of drug taking as VennerRoad notes she looks ‘spaced out’ during the interviews. This child-like and/or drug-addled feature of Emma Humphreys’ psychology makes interpreting her actions something of a Rorschach test; whoever observes her may draw their own unique interpretations about what she did and why she did it. Moreover, like many mentally unstable people, Humphreys would have likely being easily swayed by others. In truth, Emma may not have completely understood why she stabbed Trevor Armitage but feminists were available to interpret for her.

From the small amount of footage I’ve seen of her, I get the impression that, in spite of what she did, Emma Humphreys may not have been an entirely bad person but she was definitely a very troubled and dangerous individual. If she wasn’t going to be in prison, she should have certainly been in an institution, for her sake as much as anybody else’s.

The video also shows Emma Humphreys’ struggle with anorexia which likely contributed to her early demise. It’s shocking to see how Humphreys’ appearance changed from how she looked shortly after she left prison (see 1:19 on the above linked video) compared to how she looked a while later (see 8:33). She wasn’t a bad looking woman but towards her death she looked much older than her thirty years. Freedom, it seems, had aged her far more than 10 years in prison had.

Emma Humphreys died of a choral hydrate overdose on 11th July 1998. Interestingly, the video gives her birth date as 1968 rather than 1967 possibly showing how little her feminist supporters actually researched her background – or maybe they just don’t understand how someone who was born in October 1967 could be 30 in July 1998.

Following Humphreys’ death, Julie Bindel apparently told the inquest that Emma was “thrown out of prison and left to her own devices” seemingly forgetting that Bindel had partly contributed to this cause of events by lobbying for her release. In this memorial to Humphreys, Harriet Wistrich writes that she “sometimes …wondered whether we were doing the best thing for Emma” during their campaign for her release and Bindel recalls here Wistrich noting that “cruelly, Emma had been safer in prison than on the outside.” – you think so, Harriet?

Although Bindel, Wistrich and others did attempt to look out for Humphreys following their successful campaigning – they frequently visited her and tried to give her food to gain weight – they seem have been, and likely still are, blinded by their own ideologies and have a very naive perception of Humphreys.  In their eyes, Emma Humphreys was merely a tragic victim of the Patriarchy and her own actions were simply a reflection of that. That Humphreys bore some responsibility for what happened to her has likely never occurred to them. After all, how would they then turn her into a martyr and create a prize dedicated to her?

I don’t doubt there was a lot of sympathy and empathy from the likes of Bindel and Wistrich towards Humphreys and they couldn’t have predicted that she would die so soon after her release, but their involvement in the last years of her life have enabled them to control her legacy and spin a very particular version of events. This account of Humphreys’ life by Harriet Wistrich from earlier last month shows how sentimentalised and distorted her story has become. It also appears neither Wistrich nor Bindel have reconsidered how their actions may have contributed to Emma Humphreys’ early death.

Dea Birkett, writing in The Times back in 2002, notes in this article several cases, including that of Emma Humphreys, of women convicted of killing their male partners being set free on the grounds of abuse.

Birkett notes:

“A gaggle of feminist and legal groups have welcomed these women walking free. The judiciary are finally accepting the argument that domestic violence and abuse are sufficient grounds for provocation, declares Justice for Women. Put in plain language, this statement is terrifying: if your boyfriend gives you bruises, it’s understandable if you knife him in the heart. Soon, women will be able to get away with murder. It cannot be right that our legal system is being used as a weapon in the war between the sexes.”

Dea Birkett – ‘Women should not get away with murder’

She also makes this compelling point:

“But the courts are not the place to redress centuries of women’s oppression. These murdered men, however unsavoury, should not be scapegoats for society’s inequalities. If this were the purpose of our legal system, any Muslim killing any Christian would be committing mere manslaughter because of the atrocities of the Crusades. A black burglar could be defended on the basis that he was redressing the sins of slavery. Such arguments would be, rightly, laughed out of court. Each of these individuals is committing a crime against a person.”

Dea Birkett

Although we could debate whether women have endured “centuries of oppression” – at least compared to any other group of human beings – her overall point was very well made.

Emma Humphreys’ life was in many ways tragic, but this doesn’t mean we can’t judge her actions or her as an individual. She was not some poor helpless soul who could be rescued by heroic feminists and go on to have a normal life following her release. What happened to Humphreys after she came out of prison indicates to me that Bindel, Wistrich and their fellow campaigners didn’t really know who or what they were dealing with. Emma Humphreys’ unfortunate fate should be seen as a warning to what can happen when the simplistic and black-and-white viewpoint that an ideology provides encounters the cold and complicated real world.

The Curious Case of Emma Humphreys (Part 2)

Often omitted from most presentations of this case is Emma Humphreys’ own incidents of violence and difficult behaviour, at least before her killing of Armitage and subsequent conviction.

The Guardian released some of Humphreys’ diary entries in this article and argued that, if they were published at the time of Humphreys’ initial conviction, they could have lessened her sentence. Ironically, in my opinion, the diaries could have equally SUPPORTED her conviction.

One entry comes from her time in Canada. Both Emma’s mother and stepfather seemed to have been heavy drinkers which clearly made her home life unstable. According to her own account, Emma had ran away from home on at least one occasion and ended up spending time in a children’s home called Westfield in Edmonton where she records that she cut herself and, in one incident, “went rank” (whatever that means) on her social worker which resulted in her being restrained by security guards.

She also describes her relationship with her mother. Humphreys records her mother “drinking 24 hours a day” and writes that “she upsets me” (this is admittedly open to interpretation: is Emma being sympathetic towards her mother or saying that her mother says/does things to her which she doesn’t like?) Later she writes that she “never had a mother-to-daughter relationship” with her mother.

When she was living with her ‘Nana’ (grandmother) back in the UK in Nottingham she writes that she and her Nana “aren’t talking again” because her Nana was “being so judgmental towards me”. This suggests that Humphreys’ behaviour was concerning enough to warrant criticism from her grandmother and probably the reason for Humphrey not staying with her.

Other entries after she moved in with Armitage describe him hitting Humphreys, her getting involved with another man called Anthony, and the two of them smashing up Armitage’s house which led to them ending up “at Radford Road cells.”

The (biased) Wikipedia article on Humphreys mentions that she had convictions before her murder case:

“In January 1985, Humphreys was arrested and kept on remand at HM Prison Risley for two incidents, one of which involved assaulting a hotel manager.”

In her diary, Emma writes that she had assaulted a police officer as well as the hotel manager! The Court of Appeal judgement simply refers to Emma appearing before the criminal court “as a result of two incidents” conveniently not mentioning any assault on her part. There is however an interesting detail here that Humphreys was conditionally discharged on 21st February 1985 – only a few days before she killed Trevor Armitage – who had “took in another girl” while “she was away”.

Did Armitage taking in another woman while Humphreys was on remand contribute to Humphreys’ actions days later? It may have certainly infuriated her and made her jealous – although this is simply a conjecture on my part. Killing someone only days after being conditionally released isn’t exactly going to help you avoid going to prison though.

What is evident here is that, even before her association with Armitage, Emma Humphreys was capable of impulsive and destructive actions like the one that led to her imprisonment.

True, Emma Humphrey’s erratic behaviour would have likely made her vulnerable to dangerous and predatory men but she was obviously just as capable of being violent and unpredictable.

According to her Wikipedia article, a psychiatrist at the original 1985 trial described Humphreys as:

“of abnormal mentality, with immature, explosive and attention-seeking traits, the last trait referring to her tendency to slash her wrists”

A medical examination after her killing of Armitage also revealed cuts all over her arms including recent ones. According to Emma herself, Armitage had taunted her about her wrist-slashing which was what led to her stabbing him. Was this evidence of persistent mental abuse by Armitage towards Humphreys which caused her to finally snap and retaliate? Or evidence of the couple’s destructive characters and relationship? Feminists would have us believe that the former was the case. This interpretation of the events is a classic example of so-called ‘battered women’s syndrome’ which argues that pre-meditated or seemingly unprovoked acts of violence by women against their male partners is the result of the men’s previous abuse of the women. Obviously, acts of violence from one person to another will, in many cases, result with a response in kind but if that response leads to murder, then the murder victim is still a victim.

Had Trevor Armitage forced himself on Emma Humphreys and tried to rape, injure or murder her, then her stabbing of him could be justified as an act of manslaughter – which makes the idea of battered women syndrome futile.

The Curious Case of Emma Humphreys (Part 1)

For a while I’ve been interested in the sad, dramatic life of Emma Humphreys, a woman who was convicted of killing her boyfriend/pimp Trevor Armitage in 1985 and was then released in 1995 after the feminist campaign group Justice for Women got her conviction changed from murder to manslaughter. Humphreys later died aged just 30 in 1998 from an overdose.

The Emma Humphreys Memorial Prize (EHMP) was established following Humphrey’s death, as described on the website emmahumphreys.org:

“Every year since her death in 1998, the Emma Humphreys Memorial Prize has given two awards to feminist campaigners in honour of Emma. The awards carry a prize of £1,000 and are given to women campaigners and to campaign groups who have, through writing or campaigning, raised awareness of violence against women and children.”

Only feminists could establish a prize for “recognising women who work against male violence” and dedicate it to a woman who murdered a man. Humphreys was able to get her conviction changed because it was argued that she had been physically and sexually abused by Trevor Armitage and so her murder of him was an act of self defence. February of this year (2024) marks the 25th anniversary of the prize so this post was unintentionally well timed.

What makes this case interesting to me is the way it shows how narratives can diverge from the facts, or as close as we can get to the facts from the information at hand, as well as how ideologies can have a big impact on our perceptions. I’ll attempt to illustrate here in three parts why this case is a good example of the truth being distorted to fit a particular ideology, in this instance feminism.

The standard narrative presented about Emma Humphreys is that she grew up with a violent stepfather and was forced to run away from home and become a prostitute. She was later the victim of abuse by Trevor Armitage which led to her killing him. In response, the apparently brutal and patriarchal justice system condemned poor Emma Humphreys to life in prison until feminists came to her rescue in the 1990s. After being released from prison, the psychologically damaged Emma was left to fend for herself which led to her untimely death.

The basic, uncontroversial facts about Humphrey’s background prior to her crime are that she was born in the UK in 1967 and then went with her mother, stepfather and siblings to Canada after her parents’ marriage broke down. She later came back to England to live with her father, then her grandmother and, at some point, began living with her victim Trevor Armitage after she had turned to prostitution.

A more in-depth description of her background can be found in this post by ‘VennerRoad’ which also gives a detailed overview of her murder case.

Trevor Armitage is always referred to as being Emma Humphreys’ pimp but it is unclear how much he was involved in Humphreys’ sex work. Was he forcing her to prostitute herself or was he simply taking money she had earned from prostitution in exchange for letting her stay at his residence? My own thinking is that the latter was more likely. Perhaps it’s more accurate to call Armitage Emma Humphreys’ “pimp” in quotation marks since he may have been indirectly gaining money from her prostitution. What is clear is that Humphreys and Armitage had a very tumultuous relationship.

Trevor Armitage was certainly a deeply flawed man – he had previous violent convictions and was in a relationship with a much younger woman barely older than his son (Armitage was 33 and Humphreys was 17). He could have definitely been violent towards Humphreys but she had opportunities to leave him if the abuse was so bad. Some might argue that Emma may have been too afraid to leave but she was not exactly harmless herself.

However, you can believe that Trevor Armitage was a scumbag and at the same time think that Emma Humphreys should have remained in prison for killing him. Feminists like to say that there is ‘no such thing as a perfect victim’ but does this also apply to men? Feminists seem to think however that any blame placed on a woman is equivalent to saying all the blame is on women. In fact, assuming women have responsibility over how they behave is surely less patronising than presenting them as powerless victims?

As already noted, Trevor Armitage was not exactly a saint and his decision to have a relationship with Humphreys cost him his life. However, would it be politically incorrect to suggest that birds of a feather flock together? In other words, perhaps Emma Humphreys and Trevor Armitage’s volatile personalities drew them towards each other.

Since Trevor Armitage is not alive to put forward his own version of events, we are only left with the information presented about the case. The same cannot be said for Emma Humphreys, who later presented as a heroine fighting a sexist, patriarchal justice system.

Emma Humphreys killed Trevor Armitage with a knife to the chest while he was lying on his back at their residence sometime between 25th-26th February 1985. He was only wearing a shirt which Humphreys claimed was an indication that he wanted to have sex with her. The Court of Appeal judgement (which is linked on VennerRoad’s post) argued that a comment made by Armitage to Humphreys while they were in a pub with some friends earlier that night about them being “all right for a gang bang” was evidence of provocation.

Notice that these are assumptions rather than definitive evidence of threatening behaviour by Armitage that would justify Humphreys stabbing him. It is one thing to talk about a gang bang than to engage in one. Armitage’s “undressed state” as it was described in the Appeal may have indicated he wanted sex from Humphreys but he didn’t force himself on her before she stabbed him. Maybe he would have. Then again, maybe he would have spontaneously combusted had he not being stabbed. This is further complicated by the fact that we only have Emma Humphreys’ account of what happened. To say that she may have been an unreliable narrator might be an understatement.

MMM#18: More (hopefully) in 2024

Just a quick one to let any readers know that this blog is still active despite the fact I haven’t posted anything for a while. I haven’t done much with the blog this year despite expressing my desire last year to be more active on it. 2023 hasn’t been the best year for me so, while I haven’t had any serious problems to deal with, I haven’t felt up to writing or posting content on here a lot of times although hopefully that should be different in 2024.

I’ve had more of a problem with having too many things I wanted to write about rather than having too little. Events I wanted to write about this year include the Barbie/Oppenheimer phenomenon (although I haven’t seen either film), the Laurence Fox/GB News incident, the Russell Brand controversy, the Israel/Palestine conflict, Joey Barton, Nigel Farage and the upcoming UK/US elections among others. In most cases, events had moved on before I had thought of anything to write about them.

I also have about four book reviews that I want to write but haven’t even started. As well as that, I have a lot of content that I’ve started writing but not finished.

All of that is to say that next year should be more active that this one.

Thoughts on Louise Perry’s book ‘The Case Against the Sexual Revolution’ (Part 3)

The final extract from Louise Perry’s book explores how changes in attitudes towards sex since the sexual revolution may have contributed to the sexualisation of children.

Perry starts by looking at the well known campaigner Mary Whitehouse who unsuccessfully campaigned against the depiction of sex and violence on TV. Perry notes that some of Whitehouse’s campaigning seems quaint to us now such as the use of sexual innuendo in TV shows in addition to her opposition to homosexuality which resulted in her becoming a figure of ridicule. A porn star for example changed her name to Mary Whitehouse as a way to mock her and the BBC Director-General Hugh Greene is said to have had a grotesque picture of her which he would throw darts at!

A lot of people who disagreed with Whitehouse, however, have conceded that she had a point about the type of content that was produced by television which has, if nothing else, perhaps made popular culture more dumbed down than it used to be. Whitehouse was also I think a bit of an easy target for certain people who could have at least accepted that she had a point of view that was shared by a significant percentage of the population even if they didn’t share it themselves.

I’ve noticed that some feminists have tried to reclaim Whitehouse as a kind of ‘proto-girlboss’ due to her opposition to pornography and other areas of sex as Louise Perry elaborates in this article. Perry argues that Mary Whitehouse was “one of the few public figures of her day who gave a damn about child sexual abuse” which made her “remarkably prescient”.

For all the BBC’s animosity towards Mary Whitehouse and her moral campaigning, they can’t really claim any high-ground having employed figures such as Jimmy Savile, who was revealed to have been a serial sexual predator only after his death. Louise Perry notes that Savile’s celebrity status allowed him to exploit his victims without any repercussions. However, Savile was apparently open about his behaviour, even in his autobiography, and it appears this wasn’t taken seriously.

Perry argues that relaxed attitudes towards child sexualisation in the 1970s and 80s allowed groups such as the Paedophile Information Exchange (PIB) in Britain and the North American Man/Boy Love Association (NAMBLA) in the USA to flourish whilst European countries had freely available child pornography. Left-leaning intellectuals such as Jean-Paul Sartre and Jacques Derrida also apparently campaigned in France to decriminalise the age of consent.

Returning to Mary Whitehouse, Louise Perry notes that Whitehouse’s lobbying helped pass the Protection of Children Act in 1978 which Perry argues has been forgotten by liberals in addition to their own “tolerance for paedophilia”.

While paedophilia is now condemned by liberal thinkers, Louise Perry believes their argument is based on the idea of consent – i.e. since children can’t consent to sexual acts, sex with children is wrong. Perry nevertheless asks such thinkers to consider adult performers dressing or acting like children, or graphic depictions of sex with children – are these also wrong?

Perry here writes:

“The problem has always been where you draw the line, and this puts liberals in an awkward position. When you set out to break down sexual taboos, you shouldn’t be surprised when all taboos are considered fair game for breaking.”

Such taboos that could be broken include incest, beastiality or necrophilia although the latter two could be ruled out due to the issue of consent. Louise Perry believes that we are “starting to see some slippage back towards the paedophilia advocacy of the 1970s” using the infamous Netflix film Cuties as an example.

This particular film caused outrage for depicting prepubescent girls wearing revealing outfits and twerking, grinding and other sexualised poses. Like with any controversy nowadays, there was a distinct political divide with commentators on the Left arguing that the film was a satire on child sexualisation whereas the right saw it as promoting child sexualisation. Perry writes:

“There is something about paedophilia anxiety that is currently considered rather low-status among the liberal elites. Snobbish progressives present it as an obsession of the ignorant and credulous working classes, fired up by tabloid newspaper stories.”

Louise Perry acknowledges the hysteria that can surround accusations of child sex abuse but also notes that sexual exploitation of children does take place, such as with Jimmy Savile and also Jeffrey Epstein.

Perry concludes:

“Yet these things really happened. They are an indication of the murky places to which a no-holds-barred attitude to sexual liberation can lead — just as Mrs. Whitehouse was warning all those years ago, and got no thanks for.”

There isn’t much in this article that I disagree with Louise Perry on since any right-minded person would object to the sexual abuse of children and it is reasonable to suggest that the sexual revolution allowed figures like the aforementioned Savile to be exploitative.

However, Louise Perry does not point out that feminism, which she still identifies with, has taken advantage of society’s fears of child sexual abuse for their ends. For example, Erin Pizzey has said that mothers in child custody cases in Western countries such as Canada can prevent fathers from seeing their children by using the ‘silver bullet’ of claiming that fathers had physically and/or sexually abused their children. There will be some genuine claims of paternal sexual abuse, but it’s still a powerful weapon to use by mothers, or their lawyers, to stop fathers from having any contact. Stephen Baskerville, whom I mentioned in Part 2, has made similar points about the family court system routinely presenting fathers as abusers.

The fear of paedophilia may have also resulted in the decline of male teachers in schools and other roles where men interact with children, such as in the Boy Scouts; This particular organisation is often the source of lazy and overdone jokes about scoutmasters being actual or borderline child molesters. No doubt, paedophiles will go to occupations where they are authority figures over children, but these cases should not devalue other men who may want to work in such professions.

There’s an episode of the Channel 4 show TV Heaven, Telly Hell where the comedian David Mitchell notes the decline of older ‘children’s TV’ presenters from when he was growing up and their replacement with younger ‘cool elder sibling’ presenters. Mitchell says he prefers the ‘fun middle-aged man’ which predictably gets some laughs from the audience. David Mitchell then argues that it’s not a bad thing for a middle aged man to be fond of children and children to also like middle-aged men. The presenter Sean Lock (RIP) responds that Mitchell has a good point but that they can edit it very badly for him! The whole episode can be watched here although the relevant bit starts around 09:05.

In short, the fear of child abuse by some men has been used to demonise men as a whole. I remember watching a discussion programme about masculinity on TV – I think it was The Big Questions – in which a men’s rights type-man was arguing that men should have more time with children. A white knight – I mean another man – questioned whether this was a good idea since men tend to be more violent and sexually abuse more children than women. While it’s possible that most child abusers are men, this is only a fraction of a percentage of men as a whole, to say nothing of female child abusers. Feminists nevertheless have taken advantage of society’s fears of male predators to cast doubt on any man who works, or who may be interested in working, with children.

This is one reason why I don’t believe some commentators on the right who claim that the Left, or at least the Left as a whole, want to normalise paedophilia – there are certainly extremists who may wish to do so, but the public would not tolerate such leniency if it meant that children were put in harm’s way. The backlash that has followed legislation over transgenderism is one example of this.

Like with transgenderism, I’m willing to admit I’m wrong if things get too far, but, for understandable reasons, paedophilia is a useful stick to beat your opponents over the head with. It’s not a surprise that the Catholic Church, not exactly a traditionally Left-leaning organisation, has been attacked because there has been cases of a small number of Catholic priests molesting children. While I’ve heard that most of the victims of abuse at the hands of priests were older boys and adolescents – suggesting the issue was more about homosexuality than paedophilia – even if this is true, it will not wash with critics who might claim that this is an attempt to dismiss the scandal. Of course, the Catholic Church is by no means the only organisation to have been tainted with sexual abuse accusations, which, in the age of #MeToo, have been levelled at many organisations and institutions.

On the other hand, we shouldn’t be naïve in thinking that child abuse doesn’t happen in powerful circles where certain people have the influence and resources to get away with their behaviour. The individuals described in Perry’s article are one example of that. Similarly, there is definitely questionable subject matter being taught to children by certain ideological teachers which does need to be investigated.

All that being said, I would be more sympathetic to Louise Perry here if she had pointed out that fear of paedophilia can be an effective political tool used by many different movements (e.g. feminism) even if genuine concerns of abuse are sometimes dismissed as hysteria.

Conclusion

Compared to most feminists, Louise Perry at least has some sensible things to say and I don’t think overall she’s a bad person. Nevertheless, judging from these extracts from her book, I wouldn’t recommend reading it as Perry does not want to let go of the feminist victim narrative. This is why I haven’t jumped on the reactionary feminist bandwagon like a few people I follow appear to have done. As Janice Fiamengo notes in this Substack article about Perry’s fellow reactionary feminist Mary Harrington (whom, in fairness, I regard as a more interesting thinker than Perry):

“Nothing says “Women are wonderful” quite like the applause in conservative and non-feminist circles that greets a feminist who makes even the mildest criticisms of feminism…”

Janice Fiamengo – ‘A Reformed Feminism Still Sees Men as Accessories to Women’

Such feminists at least make the conversation about the relations between men and women more interesting, and the likes of Perry and Harrington may well develop their views in the future, but at present I’m going to remain more sceptical about their insights.