The re-launching of Chaser News, Part Thirteen: Journalism was always Patriarchal. Time for the Matriarchal way of opening minds.

Journalism has brainwashed the masses with the silly notion that you can have just one Good Guy, a whole warehouse of Victims, and some nefarious Bad Guys who do not applaud the hero’s every boneheaded idea.

Why the Left are as garbage as the Right is they cannot get their minds around the notion that they are not superior to people who see who they really are and vice versa.

People can be petty little shits who are still holding childhood baggage of sibling rivalry.

As an only child, I am not saddled with those bullshit issues; so I see it very clearly.

I have seen ninety year old still hold grudges against their siblings for no good reason at all, and everything else in their life has to do with the Patriarchal narrative that they are the Hero and their sibling is the Villain, with clueless mom and dad who were the duped Victims.

Their bedtime stories told them so, and then journalism reinforced that notion of Us Versus Them.

No, it is always, always, always, Us Versus Us.

We needed to be told stories that showed us our flaws, too, as well as the positive traits of those we disagree with and even clash. We should negotiate, not dominate as we try to destroy people who think you’re a nerd, which the label alone is Middle Class Kryptonite.

The Patriarchal failed the middle class as it served the interests of the wealthy who use it as a perpetual misdirection to keep the little people little and in perpetual anxiety, fear, anger, hatred, nervousness, and slap fights with strangers on the Internet as if that weren’t a nerdy thing to do.

Twitter is a Troll Scroll for those control freak people with unresolved sibling issues.

When I decided to start A Dangerous Woman Story Studio, I decided that I wasn’t going to play that rigged game, and it dawned on me that we need a better way to tell stories in such a way that people cannot get away with using the Patriarchal as some sort of justification for being petty assholes.

I identified it as Matriarchal, studied its nuances, and even refined it through experimentation, modification, and practice, but I by no means invented it.

Comics books and soap operas do things the Matriarchal way: they focus on more than just One. We have heroes who can be villains or supporting players. It is a revolving door, where we are introduced to new worlds through each door open.

But almost no novels had this kind of epic refinement, except for one.

A Confederacy of Dunces, which, along with The Hound of the Baskervilles, The Color Purple, and Watership Down, are the four novels that never left my heart, soul, or mind.

But ACOD had the biggest impact on me, for numerous reasons.

It was a purely Matriarchal book that had a protagonist who was a jerk, but it was the supporting characters who all had equal time with their own storylines and personal development.

It was written by John Kennedy Toole, who is Person #12 on the List of People Everyone Should Know, and his book is absolute genius and proved that Matriarchal is the stronger storytelling tool.


Sadly, he could not get this book published, and he became so despondent, that he committed suicide. His mother toiled for years, found a champion who got it published, and then it won a Pulitzer, years after a man who knew he had a first-rate book became broken by repeated rejections.

But I find something very interesting: people who are narrow-minded and memorize scripts absolutely despise this book. They cannot get into it because they lack empathy and do not have a natural feel for making their own judgments on people: they are binary in nature: Us, Them. Good, Bad. Black, White.

Because they were indoctrinated and trained to be that way and cannot grasp the idea that their thinking has been too constricted to the point of being unable to open their hearts and minds to different people and different perspectives.

People with empathy love the book. They can read a story with an asshole protagonist, and still root for him. They can feel sympathy for his limited mother, cheer for both the meek cop and the salty survivor African American as much as they can bond with the ditzy blonde stripper and the over-educated radical New York girlfriend of the main character or the spineless factory owner who is shackled by both nepotism and his obnoxious wife.

They are all flawed. They would have been all villainized in the Patriarchal.

And yet here, they are fleshed out, and even though they come from all walks of life, they are worthy.

They are worthy of being heroes — and they are all heroes in different ways.

There are villains, too, but we can see why they are as they consistently exploit and abuse multiple characters. The supporting characters aren’t there to cheer the hero or wait for him to rescue them. They are all heroes of their own fate.

And the hero is not some gorgeous guy: he is fat, dowdy, judgemental, self-indulgent, manipulative, and a coward.

And yet he is a riveting character and is as colourful as the rest of the characters who stand out, hero or villain alike.

And yet, it took until the early 1980s for the West to be able to even consider a Matriarchal novel.

These are the kinds of stories children need: the ones that do not let them get away with being selfish and self-centred, always framing narrative to manipulate and rig interpretations that they are superior and without flaw.

And journalism should have always done the same thing.

Be a balance, not pick sides. They should have had people understand those they deem outsiders and rivals, and have respect for multiple points of view.

Chaser has the Matriarchal in mind and at heart: it is emotionally literate as it is intellectually literate: it understands the world is a mosaic.

It is not about enabling delusions or sticking to binary scripts.

I have been writing the Matriarchal since 2013 when I began A Dangerous Woman Story Studio, long before Ariana Grande’s song of the same name.

She was never a dangerous woman. She panders as she sings beautifully.

A Dangerous Woman was always about radical centrism: the experimenter’s perspective.

We look at different parts in order to see the whole.

Not decree this broken piece is better than the others…