I think it is clear... Maximus is no 'G'. He ain't a hustler, a player, a 'winner' as the sphere likes to puff its chest out in pride to attract boys with a 100% false (and feminist) projection of what a Man, capital M is.
What I am... and what a Man, capital M is... is a gentleman.
This was made clear to me having caught the classic film Pretty Woman by chance again last week for the first time in over two decades.
The return of Man, capital M, is the return of RESPECT & DIGNITY - for both men and women.
I have written about the cancer of the Red Pill before, the dehumanizing of women, but watching Pretty Woman again I came to realize TRP has also dehumanized men.
This will be THE post that all my haters point to as Maximus not just being out of touch with the times... but utterly, nay royally, purple pill.
Look at those eyes ladies and gentleman.
In both people. Look at them closely.
What do you see?
Goodness. Honesty. Kindness. Care. Love.
A man, and a woman, who RESPECT one another. "Their actors you retard." Yes, and no. They are, first and foremost, human beings. And as human beings, as actors, the audience will only connect with that which you are capable of genuinely being able to convey. These traits were still around in The West in 1990, in the mass and majority of western culture, and in two members of generations (Boomer and Gen X) who were the last human beings to grew up in such a culture.
Goodness. Honesty. Kindness. Care. Love.
Feminism has killed this in western women for men. The Red Pill has killed it in western men for women.
The times we live in are getting bleak. Every day, the world blindly marches closer to war. When I look around and can so clearly see the future, it saddens me not that The West and European culture and civilization is dying; it is that we are going out as complete degenerates, with no dignity or respect in our final hour. And Red Pill men are responsible for this as much as feminists and SJWs.
To even whisper that men, yes Red Pill woke men, should RESPECT western women, faults and all, is now heresy.
This is why Pretty Woman was such a huge box office success and cultural phenomenon. And it is still relevant, nay critical, in the most important lesson it has to impart to save The West today.
Pretty Woman was not a rom-com. It was a classic western archetype writ large for modern times, the beginning of the 1990s. The money and greed of the 80s was beginning to take it's toll on America. There were a lot of winners, but also a lot of losers.
The kernel of what would become 3,000 — and then Pretty Woman — isn’t necessarily obvious in the final film, but it’s there:
“Wall Street had either come out or was coming out, I had heard about it and the whole issue about the financiers who were destroying companies.
I kind of thought about the idea that one of these people would meet somebody who was affected by what they were doing,” Lawton remembers. That he happened to be living in Hollywood at the time, in a neighborhood populated by daughters of the Rust Belt who had turned to prostitution, was just a strange coincidence.
Kate Erbland, Vanity Fair - The True Story of Pretty Woman’s Original Dark Ending
This was the inspiration for the story, a darker and more gritty tale that Vanity Fair dives deep into in the quote linked above. Yes, you read that correctly. Pretty Woman, for the opening of the 1990's, was a "dark and gritty" tale. Ponder on THAT for even just a second to realize how degenerate The West has become in the past 28 years. No one would consider Pretty Woman to be "dark and gritty" today, not even close.
The problem for the screen writers and studio was the ending - there was none. There was no fairy tale ending. It was just Vivian and Kit, taking a bus to Disneyland to spend the money she earned with her whale of a client. If Pretty Woman were to be remade today, this is the ending it would have, hammering home the globalist narrative that women need men as much as fish need a bicycle. It will also never be remade, for that would mean Hollywood putting out the single most cultural changing narrative - respect and dignity between men and women - that goes completely counter to the goal, unless of course it was inter-racial. (God, when you think about that angle, I am shocked it has not been remade.)
Because the story was to be a darker and grittier tale (i.e. more "real"), they could not go for the typical happy ending. When I say typical, they did not want JUST a happy ending, a sappy marriage proposal, Richard Gere's character blubbering some lines about how much she has changed him and wanting to start a new direction in life... with her. Try it, there are any number of ways this movie could have had a sappy-happy ending. Why the specific one that it got in the end?
Which is where the legendary director Gary Marshall steps in to put his fingerprint on a tale that today would be seen as "trad" and horrifically out of date for modern relationships of any pill colour.
Still, Lawton was convinced that Marshall had a vision that he wanted translated to the big screen, and Marshall concedes that he did – in his mind, it was a fairy tale, with a twist.
The director recalls, “My vision was a combination of fairytales. Julia [Roberts] was Rapunzel, Richard [Gere] was Prince Charming and Hector [Elizondo] was the fairy godmother.
It didn’t seem like a vision everybody would have, but I did.”
It's my vision as well.
A return of respect and dignity between men and women in The West - because we can choose to embrace both.
We can also see that Pretty Woman's staying power as a classic film is based on more than just a good story, acting or directing. By using Jungian archetypes (hero, maiden, magic), Marshall was able to infuse in Pretty Woman a far deeper meaning and resonance with the human condition and spirit.
Last week's post summed up perfectly why The West is dying - western men and women have walked away from moral truth. That turning away from God - from the divine source of honor and respect each man and woman has innate within them - is how Millennials find themselves in such a nightmare of a dating/mating sexual marketplace. See? You can't even describe how "it is" today without reference to Darwinian survival presuppositions.
You can see Marshall's Rapunzel and Gere's Prince Charming woven into a tale of two souls striving to find what is good and true in life because of the chemistry and attraction they find in one another, from a relationship that was never supposed to have any. Millennials of today, both men and women, are walking emotional voids. They feel nothing for one another because they "don't believe" in love. They don't believe in love because... they don't believe they have a soul, a divine reason to love someone beyond a) hypergamy beta bucks and b) alpha money fucks.
Think I am wrong? Would any Millennial actually watch Pretty Woman today and literally see themselves in the characters of Robert's and Gere?
No. The message of true love between a man and a woman would be laughed and mocked... mercilessly. I watched Friends With Benefits too recently and the tone and feel of the film compared to Pretty Woman is stark.
- adults that talk & act like children (i.e. snark is "more real" than being real)
- sex is the focus of 1/2 the film, where in a film with a hooker and client, it is completely in the background
- FWB main characters discover feelings for one another AFTER having sex, going into sex with "no emotions" because of past pain
- PW main characters start with feelings (a lonely hurt Gere, a struggling Roberts), and the film is about sex as a tool of coping without love, while deeply knowing they want it, and the emotional distance "just sex" creates between two people who engage in it for just that purpose (i.e. neither one is in denial of their emotional needs or refuse to face their personal pain)
- FWB ends with a proposal... for a first date after months of having sex and clearly showing they are compatible as marriage partners (i.e. for the Millennial, fear of emotional intimacy rules their lives, even the closing scene where instead of a date and conversation, they clear the table and start making out, indicating sex is still the core of their "relationship")
- PW ends with... a marriage proposal (it's implied previously) and a decision to love one another for the rest of their lives after spending all of one week together, where sex was the smallest part of the relationship
It's staggering... to see the contrast between what my generation grew up with, and what Millenials did. But at the same time, FWB would only be possible because... young people don't believe in love anymore. Milliennials take nothing seriously in life (i.e. love) because there is nothing in them (i.e. divine, worthy of respect and dignity) they believe is worth taking seriously. And that tone - of seriousness - is the starkest and most consistent theme you can contrast the two films with.
The opening scene of FWB has Kunis' character actually reference PW with the implication that FWB IS the Millennial version of a PW "love" story. Pretty Woman may not be dark and gritty compared to today's (degnerate) standard, but the seriousness of the film leaves the viewer immersed and engrossed in both lead characters as they develop... in emotional and personal terms. In contrast, I don't think I cared even once for what happens between the two main characters in Friends With Benefits because... neither one of them through the entire film took their love life, or that of the other, even remotely seriously. "Ha ha. How many ways can we film a naked Justin Timberlake's ass and Mia Kunis side boob?" Compare the sex scenes in this film to the only real extended one in the opening first act of Pretty Woman... and you will see what taking love and sex seriously can feel like.
In Pretty Woman, we have two adults who take life and love as serious business (emotionally and financially).
In Friends With Benefits, we have children who play at being adults, thinking that having sex "with no emotions" is somehow more mature than facing and dealing with them.
Love - the lack of it - is the principle problem in The West. Men and women have completely given up finding it in their partner.
Lawton believes the studio wanted a happy ending in particular because Gere and Roberts were being courted for the lead roles.
“They had auditioned Al Pacino, they had auditioned Michelle Pfeiffer, and it would definitely have been a different movie if it had been Al Pacino and Michelle Pfeiffer,” he says.
“It might have been closer to the original script and maybe not have had a happy ending. But the chemistry between Julia and Gere, it is palpable on the screen, it was palpable in auditions. You can’t really see how it could end any other way, because they just light up with each other.”
They "light up?" "Palpable chemistry?" What does that even mean? Are they crazy? There is nothing in a human being to "light up" when standing next to someone of the opposite sex. It's all just mirror neurons and evolutionary psychology and pheromones pushing forward ideal mate selection for propagation of the species. Pffft. "Love." Ha!
What was palpable on screen was two human beings who believed in love and respect - the last generations to believe this is what they deserved for themselves and from their intimate partner.
Respect is the largest theme running throughout Pretty Woman. Yes, respect of a man for a woman, even a prostitute. Vivian also shows respect for a man by becoming Edward's "beck and call girl". Which was really the beginning of the entrenchment of feminist culture in western women starting in the 90s. Men have a need for a wife BECAUSE of the ROLE she plays in his life. It is not just sex, it is not just emotion, it is both AND utility, as a partner in getting forward in life. This is what started to die in the 1990s. Western women... simply gave up and walked away from their role in a man's life.
This is precisely the role Vivian, the prostitute, steps into Edward's life to fill. We have a successful, seasoned and experienced man (Gere was 41 at time of filming) who is finding it impossible to find a woman who wants to be his wife, his partner. Enter Vivian, the prostitute played by Robert's (the health/fertility perfect age of 23) who not only wants to do whatever Edward asks of her (and with pleasure!), that is the very reason he is paying her to be with him - i.e. a man's provision for her security and sexual intimacy.
Respect, both given and received, is what ties together the entire film.
- Edward asks Vivian for directions (help), she says it will cost him (you need, I need)
- In the car, when Vivian says "Whatever you want it to be." after Edward asks for her name... the look Gere gives Roberts, that look of "don't play with me, and do not disrespect me or yourself"... wow... watch it and be blown away (this is what Game gurus would call setting the "frame", but back then, it was simply called demanding respect)
- how reserved and uninterested in sex Edward is once in the hotel room, this being something he did not exactly plan (i.e. sex is serious business to him, he doesn't just do it with anybody)
- how honest Vivian is in letting Edward know "I'm a sure thing." (i.e. you paid/provided, I will have sex with you)
- how the hotel manager manages the "relationship" of Vivian to Edward, in both his treatment of her and his concern for his hotel guest
- how disrespectful Vivian is treated by the elite ladies when she tries to go shopping, and how respectfully the hotel manager does his best to help her find clothes that are... respectful and dignified for a young lady to be wearing
And on and on.
Dignity follows respect - once realized, given and embraced - like night follows day.
What we see in this scene is not two ape evolved, bi-pedal homosapiens, but two human beings of decency and dignity toward one another.
It's a powerful scene (and fundamentally shifts the relationship dynamic between the two characters) because this is the first time we get to see a glimpse of the true Vivian, and even the true Edward. Beauty tames the savage beast is a saying because it is true, for both men and women but especially for men by women.
When a man recognizes the beauty that is inside a woman, he sees the beauty within himself.
And vice versa.
This is what The West has lost in embracing fully a Darwinian view of ourselves as human beings. We no longer see the beauty inside another person, only their evolutionary utility.
And dress and comportment do not define beauty of soul. We can see this turn to dignity when Edward, after dismissing Vivian, stands and watches her wait for the bus. Right from the opening scenes and introduction to the two main characters, sex... is NOT what the film is about. Edward sees a beautiful, struggling woman who, while "hard and tough" negotiating her way into his car, is clearly NOT a bad person. She's funny, friendly, respectful and dignified in her own way. He watches her, he approaches her and, like a gentleman, inquires about her rates and asks her to join him for the evening. He alludes to this inner decision to change his mind and engage Vivian for her services and the reason why later on in the hotel (when he assumes she is using drugs in the bathroom getting ready but it's just dental floss, Vivian confessing she gave up and cleaned up from drugs at 14).
It's just that... very few people surprise me.
Edward is man of wealth and power who has grown cynical and negative about what both of these traits do to people. His leap to judgement is in keeping with an honest appraisal of the world (the 1990s) coming into view, but Vivian shocks him out of his apathy in the most mundane scene of what a relationship boils down to over the years - the sharing of a bathroom for care and maintenance, i.e. dignity, of the human body.
Edward was going to let Vivian go, but something turns in his soul - he feels something - and he makes the decision to trust and follow that feeling. That right there... is love.
Is lust involved? Damn straight! This is Julia Roberts at 23!!! Lust was most definitely involved, but that is not what we see play out in the penthouse suite when he invites her up for the night. What we see is... a lonely man. A man with so much money he could have any woman in the world, but no woman who actually cares about him. So too his "friends" around him. Edward is polite, calm, in charge... but with the hint of unfamiliarity and discomfort. He treats Vivian like a respected guest, not the sex object she is dressed up as. Vivian notices this, and while she tries to assure him he does not need to do the whole romance/seduction thing, his attempt underscores the tone of the scene: this is not about sex for Edward, it's about companionship. Treating a woman with respect is the ONLY way Edward knows how to treat a woman, and you can see the effect it has on a woman who works in the sex trade - she is not used to it, and it catches Vivian off guard herself.
Over the course of their "arrangement", it becomes pretty clear to the staff of the hotel that these are two good people.
Edward is not the stuck up elite snob most of the hotel's guests are. Vivian is a down-to-earth nice girl, despite her "profession". Both characters are cast as villains in terms of social judgement and stereotype, but the truth is the opposite. Edward, as a shark on Wall Street, clearly does not need much convincing to see what he is doing is wrong in the take over and break-up of companies just for profit. While prostitutes and escorts have "sex for money", it is never as straight forward (or demeaning) as the general public believes. These ARE women, and despite being "a sure thing", these women want to find respectful men for clients, especially so considering the nature of their business.
This is why Pretty Woman is such an incredible vehicle for a morality play. It lays out the gender dynamic of John and sex worker in plain view, we recognize it in our normal lives, and it shocks us.
Jason Alexandar's character exemplifies the exact opposite of the gentleman - the Red Pill Game/PUA mindset. When he finds out Vivian is a "hooker", he just assumes that money is all it will take to get access to her pussy. And of course, like all 'alpha' males, when they don't get what they want, they blame others and want to force their way to success, shown in his trying to rape Vivian for ruining the big financial deal he had going with Edward before "she" came into the picture. If that sounds a lot like the "hustle" of "real G's" who keep the "bitches on block" while they "make it rain", to then turn and lord it (power, money, status) over women like they are God's gift to them... you would be correct.
In this sense, the film actually portrays sex workers as having more respect for their bodies and their person than most western women today who literally just give sex away for a clown with good Game. Jason's character is the hustler, the guy who "lives for the kill" of making money and what money can buy. When Vivian first meets Philip Stuckey and Edward's friends at a polo event, she makes it pretty clear what she thinks of them - their moral character.
VIVIAN: Real genuine guy. Who is he?
EDWARD: He's my lawyer. He's alright.
VIVIAN: You could freeze ice on his wife's ass.
EDWARD: We'll try that later.
VIVIAN: Are these people your friends?
EDWARD: I spend time with them.
VIVIAN: Well no wonder.
EDWARD: No wonder what?
VIVIAN: No wonder why you came looking for me.
Pretty woman is a moral character play. That what a person does does not necessarily make one moral or immoral, it is who a person is, inside, and who they aspire to be. All of Edward's friends are superficial, egotistical and... disrespectful, of no dignity. When Edward leaves Vivian alone for a moment and another woman tells her "So you're the flavour of the month.", what does she say in response to the other 'ladies' informing her of Edward's most eligible bachelor status and how every woman is "trying to land him."
Well... I'm not trying to land him. I'm just using him for sex.
This has got to be one of the most memorable lines of modern day Hollywood. And in this line... we have a concentrated dose of dignity and respect.
Dignity... in that Vivian shows these women just how shallow and petty they are in only seeing Edward's utility (i.e. hypergamy and feminine imperative).
Respect... for Edward, in proving to these women she is not lying about her intentions with him and what she wants from him. She is also telling these women that she is giving Edward EXACTLY that which they withhold to "land him"... the physical intimacy every man craves with a woman he commits his life and resources to.
Who would have ever thought that a prostitute in a film about love could deliver the line that shows the most respect and dignity for the man she is with.
Every other woman wants to use Edward. Vivian does too, but at least she is honest with herself and with him about it. Which is all respect and dignity comes down to between men and women - honest intentions, honest expectations. If you do this, no matter how much you might slip as a human being into the not-so-honest-and-moral person we can all fail at times to be, the core of who you are will still show through and everyone will know it. In fact... everyone can SEE it.
In the end... Pretty Woman is a story about two people who, despite what many would judge and stereotype them to be, are just two good, kind, caring human beings who found something in one another - provision and security, beauty and fertility - but also companionship and genuine liking of one another.
The chemistry was palpable onscreen because these are simply two good human beings - faults and all.
Still there. Always will be.
The prostitute, the epitome of sex-for-money only. This was a controversial film for 1990. Both Porche and Ferrari did not want their brand associated with sex workers, so it was left to LOTUS to risk the opportunity to have their brand immortalized instead. Mr. Big before Sex & The City, Richard Gere played the stereotype of the perfect man to the letter. Even watching it almost three decades later, the film still has incredible power to move the heart and soul. And if you heart and soul are NOT moved watching this film... that is just more proof The West's soul is dying in nihilism and degeneration. It proves that western culture is now one that has accepted no one can find true love and that "fairy tales" don't happen.
Pretty Woman was not a fairy tale, per se. No one in a 1990 audience expected a prostitute to land a man like Richard Gere's character. No man believed he had to become Edward (be alpha) to attract women. No woman believed she need perform like a prostitute in bed to keep a man or secure his provision. But BOTH men AND woman believed... that it was possible... for two people of the opposite sex to see the roles they play in each other's life, but also see their humanity and want to be with them just because they genuinely like one another.
In fact... this story is not even about finding love and I can prove it with a single line of dialogue from the end of the movie.
VIVIAN: Edward asked me if I wanted to see him again... but I think... I think... definitely no. I think it's just another week right?
KIT: (Stares at Vivian intently) Definitely no.
VIVIAN: Yea (sighs).
KIT: Oh no. Oh no.
KIT: I know this weeping look.
VIVIAN: Oh no you don't.
KIT: You fell in love with him.
VIVIAN: Aw...Kit! Please!
KIT: You've fallen in love with him! Did you kiss him? On the mouth?
VIVIAN: (Exasperated) Guuuuhh...yea, I did.
KIT: You kissed him on the mouth and fell in love with him? Did I not teach you anything?
VIVIAN: Look... I'm not stupid ok. I'm... not in love with him. I just... I like him.
KIT: You like him.
VIVIAN: (Smiles sheepishly, but happily) Yeah.
She likes him. She just... likes him.
That's all it takes ladies and gentleman. To be able to admit you like someone and take the risk to express it and run with it.
And you only really, really, really, like someone... who respects you and treats you with dignity.
This is what truly separates The West from the rest.
Our culture, because of it's Christian foundation of love and the enshrinement of monogamy, allowed for the flowering of the most balanced and respectful dance between the sexes in the world.
We let women be women by not restricting their feminine charms like Muslims do, but within a context of dress that was respectful at the same time. Men as well did not lord their God given authority and power over women, but make no mistake, we wielded it, in a respectful manner.
The sad truth of relationships in The West today is this - no one truly believes Pretty Woman can happen anymore, man or woman. Not the Hollywood fairytale, but a fairytale of their own making.
What Red Pill men are saying is this - it is now IMPOSSIBLE to be a gentleman in The West.
Read that again.
The Red Pill is saying... it is IMPOSSIBLE to treat a woman with respect and dignity cause hypergamy/feminine imperative/feminism.
Women... have become so programmed to hate western men, to see in them only an enemy in job competition, or to cheat and steal as much $$$ resources as they can, that all talk of love and care for a boyfriend or husband is just that... talk, and ridiculed. If women even bother to think in these terms at all in The West anymore.
Men... have become so bitter and angry at their treatment by women, and rightfully so, they have given up striving to be gentleman for their OWN RESPECT and DIGNITY.
Just for themselves, to show to women, to feminists, that no matter how much you malign and mistreat us as men, we will never give away our divine source of pride and confidence in ourselves - of being magnanimous and above reproach, no matter how offensively our enemies mistreat us.
I'm not advocating that we can turn back the clock. No. But I am saying we can, every day, CHOOSE the kind of men, and women, we want to be.
You want to be a Man, capital M?
You are going to have to become a gentleman again.
But will you?
Or have I once again wasted my time, spilling words of wisdom onto a screen that none shall read nor heed.
Get Game. Get laid. Make money. Have sex.
It's the only way to live.
Screw this Pretty Woman love and gentleman bullshit. That shit's for beta's brah.
And we wonder why The West is dying.
That... is Cindy Crawford gentleman.
She was married to Richard Gere for four years. They did divorce, but it was mutual. Yes, she wanted her career, but he also had his and other pursuits. In the end, they simply did not spend enough time together and that was that. If there is more to the story behind their divorce... we will never know.
She previously told Porter magazine that she excluded her ex from her autobiography, Becoming, because, "It's not something I want to share." The supermodel added,
"If I felt that there was a great good that could come of it, I might have shared more, but I didn't think that there was anything for other people to learn or benefit from. And I wanted to be respectful."
Well that's kind, Cindy.
While the headline implies a negative slant... it's refuted in the article.
They are strangers... because it has been years since she has seen him. He is, once again "just Richard Gere."
Just a stranger, a man she married and shared a bed with... but for whom she will never reveal a single, solitary detail, no matter how juicy or headline baiting.
That... is respect.
Respect... only a gentleman, capital M, will get from women, all of them, even "professionals."
Strength & Honor
PS: Will be curious to see if Disqus loads, and continues to load, since the last time I wrote along these lines... they took away comments for THAT article and that article only.