https://youtubetranscript.com/?v=bJG4NoqdGUY
So, what is like, you know, there’s like kind of the, I feel like I’m getting into the same area here. Maybe it’s because I’m just having to, I’m processing, but also just like I’m fascinated by the idea that, you know, kind of the way that Christians make art, we tend to go, we take that scripture, focus on the good, true, beautiful, that’s not even the scripture, whatever is pure, whatever. We take that and we tend to think that means make, you know, fireproof, or like these very kind of happy-go-lucky Christian movies. Yeah, make God’s not dead is what that means. Is there a, like, how do you make the Christian case from scripture, or do you, for making something that has the full spectrum of things that are in the world as far as like- Violence, evil. Violence, evil, ugliness, grotesque. I mean, you know, people freak out at the sight of a skeleton. God designed it. It’s one of those things I find fascinating too. GK Chesterton. GK Chesterton. Yeah, I think, I think it’s all about, it’s all about hierarchy. That’s the way you have to kind of understand things is that once you kind of see this, this basic hierarchy that I talked about, this basic hierarchy of the garden or the mountain or whatever, then all of a sudden everything has its place. It’s just has to be in the proper place. And so, you know, I think that the fact that you’re, let’s say, attracted to, to kind of monstrosity or to these types of images, it makes sense also with what you’re doing as the Babylon Bee, right? You’re acting like, you’re acting like a graffiti artist. You’re acting like the king’s fool. The king’s fool that- Thank you. Yes. The king, the king fool, the king’s fool is super important in the, in the pattern of everything because pride is a serious sin. Like pride is a real sin for authority, especially, but authority has the tendency to think that they’re, that they’re self-sufficient, to think that they’ve got it. And they basically, they’re God. They’re not going to say it, but they think that way. They think as if like, we’ve got this, we’re in charge, we’re God. So we need, we need foolish characters to be able to point out that they don’t, like to look under the, to look under the robe, right? To show the, to show the idiosyncrasies, to show the underside of, of the system in order to, to show how it’s not complete. It’s not total. And so I think that monsters are a part of that because that’s their role too. Role, the monster is to show you that identities are relative as you move towards God. Like the only identity which is completely sure and completely certain is the identity we have in God and in Christ. And all the other ones are secondary. And so if you think that even, for example, like even, you know, the idea that like being a father is, is a total identity. Well, it’s not because fathers are jerks and fathers do all the bad things. They do a bunch of stupid stuff. So you also need places to be able to expose that so that people don’t think that they’re, that they’re, that they’ve got it. So, so the king’s fool, that’s what, that’s the role that they played. And I think that the funny thing that I’ve noticed, like for like what you guys are doing, especially, this is something that I’ve been thinking about a lot in the past few years, which is that usually the fool is, usually the fool is, is not the conservative guy, right? Usually the fool is actually more of a, you could say more of a liberal type in the sense that the order itself is conservative. And so the kind of liberal type wants to show, poke at the order and show that it’s not like, it’s not what it says, that there’s hypocrisy, that there’s, that there’s underside to it and everything. But the problem is that what happens when the structure itself is completely upside down, like what happens when the, when the order itself is liberal, like the order itself is completely about breakdown of family structure, breakdown of, of traditional society, breakdown of community. So then the fool becomes a conservative guy. It’s really fascinating because that’s what you guys are basically pointing back to reality. Like a lot of your jokes are about pointing back to something completely normal. And all of a sudden, why is that funny? I don’t know. It is funny because the whole world is upside down. So it’s like, you know, here’s the freaky family of five, you know, who go to church on Sundays and you know, they, they need to be arrested by, by, you know, they need to be arrested because they’re completely against the grain. And it’s like, you know, that’s, that’s the strange position we’re in right now. Yeah. We found a lot of humor just in that the progressives and the radicals have, you know, have seized complete control of the culture and yet still think that they’re on the French radicals and the oppressed. They still see themselves as oppressed. That’s where we find a lot of the comedy, I think. Well, I think so. And I think it’s awesome because that’s actually how that’s, I think that that’s how the world flips back. You know, I always say the fool is always turning the world upside down. Like he’s turning, turning the world upside down. That’s his, that’s his role. So he, he’s always showing the upside down of things. And so, but when the whole world is upside down, the only thing left to do is to show the right side up. So it’s actually flipping. It’s like using humor and using irony and using all these tools that are usually subversive to bring back a normal world. It’s a, it’s a wild time to see that, that it’s, that not only it’s necessary, but that it’s actually working. Because you guys are getting attention from all kinds of secular, like kind of just basic conservatives that aren’t at all Christian that are just even atheists and, you know, and everybody is, is enamored by the way you’re able to kind of turn things back on their head. Or actually turn them back on their feet is actually the way to say it.