Culture News

Louis CK Exposed Himself On Stage and It Wasn’t Very Funny

Louis CK's new set wasn't just offensive. It was straight up bad comedy.

Clip From Louis C.K.'s New Special


Comedy is subjective.

Some people enjoy Patton Oswalt, some prefer Jeff Foxworthy, and maybe one person somewhere out there liked Carlos Mencia at some point. But for a long time, many comedy fans could agree that Louis CK was one of the best living comedians on the circuit.

Pre-masturbation scandal, Louis CK's comedy was unparalleled. His sets were expertly timed with thematic through-lines and numerous callbacks. His character - a self-deprecating, bitter but ultimately good-natured middle-aged man - was funny and relatable to a wide demographic. And sure, oftentimes his comedy was offensive, but Louis CK had an incredible knack for imbuing even his edgiest jokes with genuine empathy.

That's why his newest set, performed on December 16th at the Governor's Comedy Club in Long Island, was so surprising. It's not that it was offensive; it's that the entire set was garbage, neither well-crafted nor particularly interesting. It was simply an angry old man making hacky jokes and yelling about how millennials ruined his life.

Standout bits included:

-Suggesting nobody should care what the Parkland survivors have to say because they didn't even get shot

"Testify in front of Congress, these kids, what the fuck? What are you doing? Cause you went to a high school where kids got shot, why does that mean I have to listen to you? Why does that make you interesting? You didn't get shot. You pushed some fat kid in the way and now I gotta listen to you talking?"

This is the one that's making all the headlines. And while it's certainly offensive, and definitely too soon, it's mainly just a really bad joke. If you think the notion of people surviving school shootings by pushing fat kids in the way is funny, you might be a 12-year-old kid. Except probably not, because real 12-year-olds go through school shooting drills and understand that dying in their classroom is an actual possibility, and the best course of action is to barricade rooms. Not "pushing fat kids." The entire joke hinges on the premise that you'll find the idea of a fat kid getting shot to be funny. Ha ha ha! It also suggests that Louis CK has more perspective on the realities of gun violence than a bunch of kids who recently watched their friends get slaughtered in front of them. Hate to break it to you Louie but no, you don't.

-Complaining about having a bad year

"You ever have a whole bad year? You ever have an entire year that sucks - 365 shit cunt days in a row? I mean fuck. You ever have a time that's so shitty it starts to get funny? Like you just don't fucking - after a while you're like fuck. At first you're like ohhh. Then you're like Jesus. Like I lost so much fucking money in a day."

Amazingly, Louis CK managed to avoid any potential introspection in this bit, focusing entirely on the fact that he's had a bad time and lost a lot of money. It comes off as a "poor me" rant, which isn't a great look for a dude who non-consensually jerked off in front of a bunch of young women whose careers he had the power to destroy. Poor Louie, definitely the victim here.

-Ridiculing people who use different gender pronouns

"They're like royalty, telling you how to address them. 'You should address me as they/them because I identify as gender-neutral.' Okay. You should address me as 'there' because I identify as a location and the location is your mother's cunt."

Hey, did you know that non-binary people sometimes ask to be called by different pronouns that make them feel more comfortable in basic interactions? Isn't that weird and strange? Isn't revising pronouns a huge burden on you? Louis CK certainly thinks so. The alt-right and your 80-year-old uncle who has never met a non-binary person in his life would probably agree. The rest of us are way past this.

-A long screed about the penis sizes of various ethnicities, culminating in the assertion that Asian men are actually women

"You know why Asian men have small dicks? 'Cause they're women. They're not dudes. They're all women. All Asians are women. And they have big clits, really big clits, and when they have sex they just stick their clits in each other's pussies and then they procreate using math."

This joke was particularly original, because very few comedians have ever tackled the relationship between penis size and race before. Black people really do have big penises! And Asian men are feminine and not masculine and have vaginas because Asian penises are so small! And Asians love math! Wow, so true! If you really analyze this joke, you'll see that it's funny because blatant racism is apparently hilarious. Old school Louis CK might have pushed this joke even further to ultimately parody the inherent racism at play. Current Louis CK is content with making racist statements and calling them jokes.

-A story about pranking his friend with gay sex

"So I put lipstick up my asshole. And then I say to my friend 'you want to fuck me up the ass?' And he's like 'yeah okay.' He's drunk. All drunk men are gay. So he fucked me up the ass. And then he went home and his wife sees lipstick on his dick and he's got nothing to say. I enjoyed that prank so much."

During the entire recording, one particular audience member is going nuts for Louis CK. He's howling, laughing like a maniac at every joke. At the end of this one, which he loved, he audibly says, "Fucking f*ggot!" This was a particularly enlightening moment of the set because it clearly answers the question that is bound to pop up over and over again if you were a former Louis CK fan listening to his new stuff: "Who is Louis CK trying to appeal to?" The answer is this guy - a dude who hears an overlong, rambling joke about a man convincing his drunk, straight friend to have sex, finds that super hilarious, and audibly says, "fucking f*ggot."

Throughout the entire laughless 50 minute set, a single joke stood out as being in-line with the old Louie - a bit about how his daughter told him she thought comedians were pointless. He rebuts that the only interesting thing about her is that her dad is a comedian. Louis CK's best jokes have always been ones like these, biting, real, and personal. It was almost depressing hearing one like this buried in a set that would have felt at home on Ben Shapiro's podcast.

The worst part is that, considering this is Louis CK's supposed comeback attempt, it could have been great. He could have been introspective, truthfully analyzing how and why he got into the situation he did, mining the darkest parts of himself for the sort of self-deprecating humor he's always been known for. He could have torn himself apart for raw comedy gold. Given his recent status as a sexual deviant and social pariah, he was in a unique position to do exactly that. Instead he punched down, played victim, and pandered to the worst elements of his fanbase. The only running theme was meanness and vitriol.

Dan Kahan is a writer & screenwriter from Brooklyn, usually rocking a man bun. Find more at

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On December 2nd, the Baltimore Ravens and Pittsburgh Steelers played against one another in a rugged divisional matchup. Millions of Americans tuned in as announcer Cris Collinsworth intended to pay a compliment to an impressive group of Steelers fans he met. They just so happened to be women.

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People Aren't Surprised That Chris D'Elia Was Accused of Sexually Harassing Underaged Girls

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Chris D'Elia

Photo by Kathy Hutchins (Shutterstock)

Content warning: This article contains brief mentions of sexual assault of minors.

Comedian and actor Chris D'Elia has been accused of sexual harassment.

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[This review contains spoilers.]

Stranger Things made its name with its noirish, neon-lit aesthetic and its ability to dramatize '80s nostalgia with the threat of impending doom.

Now, in season 3, that impending doom has arrived, in two separate but interconnected forms: the Mind-Flayer has officially moved into Hawkins, and the kids have grown up.


In its dedication to threading an honest depiction of coming of age with a thrilling tale of otherworldly monsters, the show is essentially the Harry Potter of Netflix. Yet unlike Harry Potter, which placed its characters in a totally separate universe, in Stranger Things, the alternate universe enters Hawkins—via a secret government operation that feels almost realistic, given the existence of things like MK-Ultra and the Russia-related threats that have plagued the modern era.

This duality—between the real and the fanciful, the past and the present—is both Stranger Things' greatest strength and also, sometimes, the source of its flaws. Its habit of smashing hyper-realism together with monsters makes for a disorienting ride. Plotlines switch as rapidly as strobe lights, and sometimes you're left with a sense of vertigo when the kids narrowly avoid death and then return to their ordinary basement hangouts. It's chaotic, dramatic, and, at times, frankly absurd.

On the other hand, couldn't the same be said for the experience of growing up?

Coming of Age, Through a Cracked Mirror

Stranger Things began when Mike and his friends were still prepubescent and absorbed in D&D. In its first and second seasons, it was largely a story about boyhood (though Eleven was always its star). Its third season shifts its focus to its female characters, but overall the show has consistently focused on common experiences, namely the fundamental strangeness (pardon the pun) of coming of age.

The passage of time affects everyone differently. Will, who spent the majority of the past two seasons being held captive, is slower to develop than his hormone-fueled friends. In a heartbreaking, rain-drenched sequence, he tears down his childhood playhouse, Castle Byers, after realizing that the days of playing D&D with his friends are gone forever.

Then there's Eleven and Mike, pushed into a maturity beyond their years by Eleven's trauma and Will's devotion. Their budding relationship is effectively Romeo and Julietted by an enraged Hopper—who, in his emotionally frozen state, is as useless at communicating as any child. In spite of Hopper's efforts, Eleven and Mike quickly discover that they love making out, and later, they discover that they are in love with each other. Despite their age, their love—communicated largely through unspoken signals between the very talented Millie Bobbie Brown and Finn Wolfhard—feels less like an unrealistic plot device and more like the real thing, in all its oddity. Their love feels clumsy and vast, almost as paralyzingly heavy as the realization that you're being chased by a shadowy monster and knowing that you're the only one with the power to take it on.


Essentially, Stranger Things is about major life changes like love and loss, but it sees them through a funhouse mirror. The show corroborates reality's strangeness with the presence of life-threatening monsters and other worlds, which bend ordinary changes into carnivalesque shapes.

In the end, it's all about growing up. Sure, the Mind-Flayer is terrifying, but in some ways, puberty's changes can feel almost as cataclysmic. Just think about things like first kisses, first periods, or the realization that your parents aren't indestructible heroes and are really just as confused as you are no less strange because they're part of ordinary life—how gigantic those things felt, how world-shaking. Similarly, the post-graduation lostness experienced by Steve, Jonathan, and Nancy, as well as the labyrinths of grief that Joyce and Hopper find themselves in, are all just as disorienting as coming of age is for the children of Hawkins.

That's part of what makes Stranger Things so breathtakingly captivating. It's a story about monsters and government experimentation, sure, but that comes second. It's really about something that every person can relate to and that everyone is at the mercy of: the passage of time.

An Imperfect Brand of Feminism

By rapidly switching from character to character, the show highlights the perpetual changes that every person is constantly experiencing, no matter what age they are. What the show doesn't do is pretend that every person is given the same opportunities, and in this season, it specifically tries to give voice to the unique experiences of its female characters.

Many of the third season's plotlines focus on the unique challenges that prevent girls from accessing the same kind of freedoms that are available to young men. Through the nuanced portrayals of Nancy, Joyce, Eleven, Max, Robin, and Erica, the show paints a magnetic picture of a variety of different women.

Ex-band-geek Robin—a lesbian whose queerness is just a small part of her identity—is a well-written character who is quickly becoming a breakout star. The same goes for Erica, who initially appeared to be a throwaway extra until she revealed herself to be the brilliant, heroic, and nuanced kid that she is.



That doesn't mean, however, that Stranger Things' brand of feminism isn't flawed. The Max and Eleven storyline is one of the show's most obviously contrived efforts to pander to its online fanbase, and sometimes it falls flat. When Max and Eleven initially were pitted against each other, the show was critiqued for playing into tired tropes about girls getting into catfights over boys. In Season 3, Max takes Eleven under her wing, taking her shopping, showing her Wonder Woman comics, and giving her advice about boys—advice that's mostly "cut them off and they'll come crawling back." While this advice is most certainly flawed, it's also a realistic thing that a twelve-year-old might say to another twelve-year-old while they're both still just learning the beginnings of how to communicate.

Stranger Things rarely sacrifices its desire to write realistic characters for attempts at writing perfect feminists or teaching life lessons. Sometimes this comes at a price. The phrase that Max repeats twice—"there's more to life than stupid boys"—feels like an unnecessary act of telling rather than showing, and it's a rare moment wherein the show breaks its mesmerizing flow to address the audience.


Overall, the show is best when it leaves behind identity politics and didacticism and instead writes its characters into rich and unexpected plots. Thankfully, Max and Eleven don't spend all their screen time talking about or trying to get over boys. Instead, Eleven—using her powers to spy on other people—stumbles upon Max's brother, Billy, committing a suspicious act, and the girls embark on a quest to figure out what's going on. Of course, it leads them right to the source of the evil that's plaguing Hawkins, and by the end of the season, their friendship is one of the most memorable relationships on the show.

Overall, the girls on Stranger Things are usually right—and the men are usually the ones who don't believe them, until it's too late. Nancy pursues a story about mutated rats until the sexist bosses at the Hawkins Post fire her, and then she keeps following it, despite the protestations of her boyfriend. Joyce insists that the magnets falling off her fridge mean something (and of course, they do), and Hopper denies it until it's too late. In some ways, it feels like the writers are shouting, "Believe women!"

Its references to the #MeToo era don't end there. Many of the Mind-Flayer's actions eerily resemble potentially triggering sexual abuse throughout the show. In a disturbing motif, Billy whispers, "Just stay still, it'll all be over soon" as he leans over the women he's about to feed to the Mind-Flayer. Later, the sexist men who bully Nancy at the Post are also possessed, and one winds up pursuing her through an empty hospital—at least until she smashes his noses in with a fire hydrant. If Stranger Things is commenting on the epidemic of sexual abuse, it's doing so in a way that grasps the monstrous nature of assault and the vastness of its trauma. That doesn't mean its women are all innocent victims, though: it means that they're sometimes violent, sometimes weak, and often flawed—like real, whole humans.

The Humanization of Villains

Despite its feminist leanings, Stranger Things refuses to demonize any of its main characters, instead prioritizing nuance over good/evil binaries. Sure, the men don't believe the women; but often, it's not hard to understand why.

Likewise, Hopper is one of the show's most lovable and memorable cast members—but he's also a cop with a propensity for brutal violence and a controlling streak that results in his policing every man Joyce speaks to throughout the show. Though it's unfortunate that Joyce has begun to fall for the (definitely alive) Hopper, it makes sense, given the context of their relationship. Once again, realism gets prioritized over perfection in terms of the show's relationships.


Then there's the childlike and lovable Alexei, the Russian scientist at the helm of the supposedly evil mission that's taken over Hawkins, who has joined Barb as one of the show's most beloved fallen angels. His brief relationship with the eccentric ex-journalist Murray was one of the show's sweetest moments, revealing that no one is too alienated to find true friendship.

It's worth mentioning that Stranger Things humanizes almost all of its villains, with one major exception: the Russians, who remain lumped together as one malicious and shockingly inept invading force that's determined to access the portal to the Upside Down that exists underneath Hawkins. Dozens of Russian soldiers die throughout the episode without fanfare, and maybe it's also worth mentioning that sometimes the violence in the third season feels unusually excessive, dramatized, and glamorized, past the point of realism or necessity.

Still, sometimes all the gore serves a greater purpose. No character (aside from Eleven) is as complicated as Billy, who is given the best story arc of the third season. Abusive to Max even when not possessed by a demon, he soon becomes the Mind-Flayer's primary host and embarks on a relentless killing spree.

Ultimately, in one of the most stunning scenes in recent TV history, Eleven follows him back in time and watches his happiest memory play out. In the memory, Billy is at the beach with his mother, riding the waves; it's nothing more, nothing less. Then, as red lightning fills the skies, Eleven watches as his mother walks out on his family because of his abusive father, who later channels his rage at his son, who then channels it at his sister. The whole sequence is a powerful portrayal of the cyclical nature of inherited trauma and violence.


It's also a grand, literary gesture. The ocean has long been used as a metaphor for purity, endings that are also beginnings, and timelessness, among other things. When Eleven goes back in time to that day by the sea, she sees Billy in his untainted form, outside of reality; and she understands that all the pain he's inflicted has been part of an attempt to fight away the ghosts of his past.

Symbolism, What Symbolism?

In the midst of everything is the threat of the Mind-Flayer, who draws its power from the portal underneath the Starcourt Mall and who hangs at the center of the show's web of storylines, always pulling the characters towards him like magnets. Though the Mind-Flayer and the Upside Down might symbolize a lot of things, the Mind-Flayer is ultimately not a clear symbol, just as Stranger Things doesn't have one clear meaning. A lot of what happens on the show seems to occur merely for the sake of fun, or drama, or beauty. Sometimes one can imagine its writers asking, so how can we get a ferris wheel in here? How can we get fireworks? How can we get Dustin on top of a hill, sending radio waves out into the ether in vain hopes of getting a response? Though these scenes are effective, in that they work to craft the show's dreamlike, psychedelic mood, they're not exactly meant to prove something.


So it's unlikely that the Mind-Flayer was supposed to represent something precise. On the other hand, it seems plausible that the Mind-Flayer's presence could be hinting at a lot of things—most likely at the passage of time and the loss of childhood innocence. It could represent the suffocating evils of corporations and capitalism (already neatly illuminated by the Starcourt Mall, which destroys small businesses across town). It could also represent the threat of Russians, whether in the form of communism (as it was in the 1980s) or electoral interference in 2016, or a bit of both. It could represent the colonialist desire to gain ownership over all untouched or faraway regions. It could represent climate change.

It may well also represent the encroachment of patriarchal forces on women's bodies and minds. Rarely have shows in this genre so clearly acknowledged the unique threats that women and girls face on the pathway to growing up, as well as the unique strengths that they possess. In the show, men launch initiatives that unleash monsters, but women are the ones who end up fighting them off. After all, Eleven is the one who the monster is seeking, as she is the only one who can destroy it.

It could be all of these things, or an amalgamation of all of them. In any case, the Mind-Flayer is literally some kind of evil mutation that stems from the government's attempt to break into the Upside Down. As for the Upside Down itself? The trope of a glowing, monster-filled parallel universe that exists just a doorway away from our own is an old one. We saw it when Alice fell down the rabbit hole, when Dorothy rode a tornado to Oz, when Lucy walked through the wardrobe into Narnia, and when Harry slipped through Platform 9 and ¾. Many of our greatest stories are about kids slipping into these other worlds, fighting battles and falling in love, and growing up in the process.

On the whole, human beings have always believed in worlds greater than the one we can see, perpetually inventing invisible forces that explain away the messes, wonders, and contradictions that comprise our lives. From gods to fairies, myths to angels, devils to demogorgons, people have clung to strange stories and conspiracies since we started chatting around campfires at the dawn of time. Children believe these stories, and see shadows in their rooms; adults turn them into religions, or television shows.

Maybe these other worlds are really out there; maybe they're just stories. Or maybe they're tools, used to comprehend the things that are really, truly strange—like time, or like growing up.

Apparently Whoopi Goldberg thinks women who fall victim to sex crimes shouldn't be surprised when it happens.

At least that's what her comments about Bella Thorne's nude picture hacking scandal suggest. "You don't take nude photos of yourself," said Goldberg on The View. "Once you take that picture, it goes into the cloud and it's available to any hacker who wants it, and if you don't know that in 2019, that this is an issue, I'm sorry, you don't get to do that."

Essentially, Goldberg seems to be saying that when a woman expresses her sexuality, even in private, she needs to take responsibility if a man uses that to violate her safety or privacy. Make no mistake, hacking celebrities' private nude photos isn't some high-tech heist. "Hackers," in this scenario, aren't amorphous shadow people; they're men purposely trying to extort, overpower, and abuse women. This is sexual assault.

Bella Thorne responded via Instagram:

Bella Thorne Emotional Message for Whoopi Goldberg After Comments on 'The View'

As all victim-blamers tend to do, Goldberg hears a story about a woman getting violated due to her sexuality, and instead of saying, "The person who violated her was a disgusting sex criminal who needs to be brought to justice," she makes excuses that the woman wasn't more careful. "She shouldn't have taken those nude pictures in the first place" is a victim-blaming argument that functions on the exact same logic as "she was asking to get raped." They're both stances that seem to just accept the idea that men are animals who can't control their urges, so the onus falls on women not to do things that will make men want to violate them.

Here's an alternative, hypothetical variant of Goldberg's quote wherein we replace hacking with rape. Let's see if it reads as level-headedly. "You don't wear a miniskirt. Once you wear a miniskirt, people can touch your body and it's available to for anyone who wants it, and if you don't know that in 2019, that this is an issue, I'm sorry, you don't get to do that."

For the people in the back––THAT'S NOT HOW IT WORKS. Everyone should be allowed to celebrate their bodies and sexualities, especially in private settings, without the fear that someone will attack or otherwise harm them for it. And if someone does harm them for it, the responsibility for that crime lies SOLELY on the shoulder of the person who commits it. That's how crime works.

A jewelry store that gets robbed isn't responsible just because it had something shiny in the window. The robber is. A woman who gets raped isn't responsible because someone else felt entitled to her body. The rapist is. And a woman who gets her private pictures hacked by someone who intends to extort, abuse, and violate her isn't responsible for the fact that someone else felt entitled to her intimate moments. The hacker is.

Bella Thorne is absolutely right. Whoopi Goldberg's comments truly are "disgusting" and show disdain towards women as a whole. She should be ashamed.


Did James Charles Come Out on Top of the Tati Westbrook Saga?

After James Charles, Tati Westbrook, and Jeffree Star presented their sides of the story, each called to lay the drama to rest. Now, fans are beginning to question who won the war — and if the cease-fire will last.

Over the weekend, James Charles, Tati Westbrook, and Jeffree Star decided to put their gummy vitamin-catalyzed feud to bed after weeks of explosive drama, serious allegations, and potential cancellations.

The news came after Charles, the most recent victim of cancel culture, released his response to Tati's since deleted "Bye Sister" video and presented his side of the story in a receipt-heavy 41-minute video on Saturday. In it, Charles responds to each aspect of the scandal––from the initial weekend at Coachella that started it all, to the allegations of sexual misconduct––and shares a comprehensive slew of text receipts to disprove the misinformation that's been spread about him. Before concluding his thoughts, Charles gets emotional as he discusses the impact of the widespread hate had on his mental health. "The last few weeks of my life have been the most painful time I've ever had to deal with. My head and brain, for a hot minute, went to a place so dark that I didn't think that I was gonna come back from." A more in-depth breakdown of that video can be found over at Buzzfeed.

After Westbrook's initial video, many angry fans gleefully watched Charles' subscriber count fall from 16 to 13.4 million, as hers soared from 6 to 10 million. Now that the controversy is coming to a close, Charles appears to be back in the beauty community's good graces and regaining followers as quickly as Tati loses them. Tati then uploaded another video, entitled "Why I Did It," where she calls for the hate and abusive memes on both sides to stop. However, after seeing James Charles' response, Tati tweeted that she would be going on a digital break, and said she was disappointed to see Charles' video "littered with so many lies & half truths."

In the same response video, Charles went on to show some "brutal" and "vicious" texts received from fellow beauty guru Jeffree Star, who publicly called Charles a "danger to society" in the height of the scandal. Following the video, Star warned his followers not to believe Charles and threatened to put out a video of his own exposing the lies.

"Everyone keeps asking me for my RECEIPTS," the 32-year-old beauty guru wrote in a now-deleted tweet posted on May 18. "I have so much to say and some really sad, disgusting things to show you guys. James Charles tried to mass manipulate you all today. When I show you the proof and WHY I tweeted that tweet about him, you will all finally understand."

However, Jeffree Star apparently opted to take the high road and, instead of furthering the drama, he apologized for his actions and inflammatory texts sent to James and his tweet towards Ian, James' younger brother. Jeffree claimed that there were people telling him things behind the scenes that led him to call Charles a predator who should be locked up in jail, among other things.

In the shortest of all the videos that came out from those embroiled in the drama, Jeffree's boiled down to this sentiment: "I inserted myself into something publicly that I shouldn't have."

After Jeffree posted his video, Tati posted an apology note accompanied by a broken heart emoji. "Although I do not regret raising my concerns, I completely regret the way I went about saying them," she adds. "Even in this moment, I still have so many things I'd like to clear up, however, the continued call for 'receipts' is nothing more than a call for the never-ending bloodshed."

Charles thanked the two for their sentiments, and decided to not speak on the matter any further but alluded to meeting up with them to discuss it all in the future. "Thank you @jeffreestar & @glamlifeguru for your sentiments. I am on board to move on, will not speak about this further, but do hope to speak in the future when we're all ready. This week was awful for all of us and I ask that the community focuses on positivity moving forward."

For now, it seems like the storm has finally calmed down. But if this week showed us anything, it's that Youtube is on track to become the most pervasive and influential force in pop culture. While once seen as a fringe form of entertainment, Youtube ought to be taken seriously as one of our generation's most consumed (and wide-reaching) forms of media. Because of the unprecedented magnitude of YouTube stars' influence, much of the drama surrounding the vloggers is unpredictable––making for good TV but seriously untameable drama. We don't yet have measures set in place for these situations, because we've never lived in a world where controversies unfold at hyperspeed, spread like wildfire through viral memes, and leave digital footprints to be shared and ridiculed.

The fact that these content creators have complete agency over their content, without being tempered by the opinion of a team, and can choose to film and upload any content to millions of people in a matter of minutes, is what makes YouTube so exciting — but also what makes it dangerous. While film and TV are also susceptible to controversy, it's usually subject to more rigorous restrictions and regulations and goes through a series of checks and balances before going public. This lack of overhead is what makes YouTube the perfect environment for scandals, where someone's career can be defamed and canceled in less than 24 hours. But this instability and unpredictability are also what makes it impossible to stop watching.

For now, James Charles (probably with the help of a stellar PR team) seems to be on track to redemption, Tati's brand is thriving and her following has grown, and Jeffree will likely recover from the hits he took while getting caught in the crossfire. At the end of the day, all three figures have invariably gained exposure that will, in the long run, contribute to their fame. In some sense, all of those involved appear to not only have salvaged their careers but boost them along the way.

The close of the beauty blogger fight that shook the world feels like a series finale, but perhaps it's just the end of Season 1.

Sara is a music and culture writer.