Nathan

Yeah, status quo. Well, okay. That's where I am. That's where I found myself really getting sidetracked about this whole thing. Because, you know, we talk about all the history of rap. Yes, it was on Seven Deadly Sins and the Greeks and the Romans threw people at lions and as an exercise of catharsis. But really, I'm interested in pop culture, right? I'm interested in why.

We humans have such a satisfaction or find such satisfaction in seeing stories of wrath on screen and in books. Why is Patrick Bateman one of my favorite literary characters? Why do we love John Wick seeking such retribution because of the dog? Why is that important to us? What do you think?

We humans have such a satisfaction or find such satisfaction in seeing stories of wrath on screen and in books. Why is Patrick Bateman one of my favorite literary characters? Why do we love John Wick seeking such retribution because of the dog? Why is that important to us? What do you think?

But the opposite is true too because he's – so he's an exercise in vengeance, but the people he's fighting are just exercises in wrath and violence. Good point.

But the opposite is true too because he's – so he's an exercise in vengeance, but the people he's fighting are just exercises in wrath and violence. Good point.

That I think is it. And I was trying to put my finger on it and you just, I think you just said it. One of the characters that I think is best to describe the dehumanization of Wrath is the Incredible Hulk. Oh, interesting. Go more into that. I don't know. Well, you won't like me when I'm angry. That's his main jam.

That I think is it. And I was trying to put my finger on it and you just, I think you just said it. One of the characters that I think is best to describe the dehumanization of Wrath is the Incredible Hulk. Oh, interesting. Go more into that. I don't know. Well, you won't like me when I'm angry. That's his main jam.

And that, I think, is the moniker for how we in pop culture look and resonate with wrath. Like angry people, we don't like them. We don't generally like angry people, even when we see that part of us, that part of them in ourselves. Right. but the character as a sociological exercise is this character who is totally chill until he's not. And then he's out of control and full of shame and regret.

And that, I think, is the moniker for how we in pop culture look and resonate with wrath. Like angry people, we don't like them. We don't generally like angry people, even when we see that part of us, that part of them in ourselves. Right. but the character as a sociological exercise is this character who is totally chill until he's not. And then he's out of control and full of shame and regret.

And it didn't take long for this other character to be invented abomination, which is this character of a guy who welcomed that sort of wrath, like to be free and not constrained by it was, it was, um, It was in the Ang Lee. Oh, the Edward Norton – Hulk, which one was it in the one with abomination and William Hurt was introduced?

And it didn't take long for this other character to be invented abomination, which is this character of a guy who welcomed that sort of wrath, like to be free and not constrained by it was, it was, um, It was in the Ang Lee. Oh, the Edward Norton – Hulk, which one was it in the one with abomination and William Hurt was introduced?

I think it was just Yeah, I think it was it was just the Hulk one, the main first one in the series, classic Hulk plane, Hulk, Hulk, yeah, Vanilla Hulk. And, and so it was, it was this exercise in, like, this is what happens when you sort of weaponize wrath, and it's ugly, and the character design is ugly it and it is worse than the Hulk's view version of wrath, right? It's disgusting.

I think it was just Yeah, I think it was it was just the Hulk one, the main first one in the series, classic Hulk plane, Hulk, Hulk, yeah, Vanilla Hulk. And, and so it was, it was this exercise in, like, this is what happens when you sort of weaponize wrath, and it's ugly, and the character design is ugly it and it is worse than the Hulk's view version of wrath, right? It's disgusting.

And I think that's a really interesting exercise because it really demonstrates the dehumanization, the literal dehumanization. It turns humans into monsters.

And I think that's a really interesting exercise because it really demonstrates the dehumanization, the literal dehumanization. It turns humans into monsters.

Purple shorts.

Purple shorts.

Well, then it's Lovecraft, right? Like then it's, Then it's an example of the unseen mysterious evil that just does bad, but we don't get the sort of power fantasy, right? Because wrath in pop culture is seen as a mode of empowerment. John Wick is an empowering movie because you can kind of put yourself in a suit and having skills that nobody else has. And oh, speaking of skills, right?

Well, then it's Lovecraft, right? Like then it's, Then it's an example of the unseen mysterious evil that just does bad, but we don't get the sort of power fantasy, right? Because wrath in pop culture is seen as a mode of empowerment. John Wick is an empowering movie because you can kind of put yourself in a suit and having skills that nobody else has. And oh, speaking of skills, right?

Like what is the Neeson movie? I have a certain set of skills, right? Yeah. So that's, those are power fantasies that allow us to live vicariously and be fulfilled by this thing that we can't, as you said earlier, we can't exude ourselves. So there's this other interpretation that I found that was really interesting that used the words moral disengagement.