Philosophy Tube / Oliver Lennard / Oliver "Olly" Thorn / Abigail Thorn - Breadtube's Patrick Bateman.

Does anyone have that ill-fated Discord channel #?

I worry about fabulous posters like @AssignedEva not being able to post about their feelings, babe. I have a couple of invites that would ensure a healthy TOOB community, but I can't just give them away...
 
Does anyone have that ill-fated Discord channel #?

I worry about fabulous posters like @AssignedEva not being able to post about their feelings, babe. I have a couple of invites that would ensure a healthy TOOB community, but I can't just give them away...
No. Bum.

Maybe our locked out chube chums could send up some sort of Olly themed smoke signal in the KF telegram channel and we could scoop them up and invite them (back) in that way?
 
No. Bum.

Maybe our locked out chube chums could send up some sort of Olly themed smoke signal in the KF telegram channel and we could scoop them up and invite them (back) in that way?
Oh well. I mourn for the potential of the TOOB/Olly's Official Fan Club being slowed down. If anyone has a good suspect to invite, send a PM to me.
 
It's so nice to be back choobing on the Farms!
This was mentioned on the Contra thread but I'll put it here too for posterity. A couple of days ago Contra liked a tweet basically implying Tube is a chaser of blonde Americans. Given they're not on speaking terms, you can't really interpret this as anything other than Contra being shady.
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Chances are he was drunk when he liked it because by the next day it had been unliked, but not before everyone took notice -
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Some /tttt/ schizo even made a Twitter account that was seen and blocked by the Tube himself.
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The tweet might have been liked because Tube recently shit talked Contra yet again in this sickly interview about his hardships coming out as trans and being all alone (it's the same stuff he's said before about how Contra said it's a curse and then never spoke to him again).
'I have over 1 million YouTube subscribers but I had to come out as trans on my own - my friend said it's a curse'
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LOL he really does think he's much bigger and more well-known than he actually is.

"I'd be recognised"
"They were full of people sharing screenshots of me"

I mean, no. He's not famous. He's not even Z list. He's such a nobody that not even the Mumsnet TERFs who pay way more attention to the trans shit give a fuck about him.

And "none of them got back to me" about the trans people in the public eye. He claims it's because they didn't see the message or they didn't believe him. The simple, more obvious truth is that they had no idea who the fuck he was or why he was bothering them.

He's such a nobody. He'll never be a famous actor. He's just an oversized head on a fridge.
 
It's so nice to be back choobing on the Farms!
This was mentioned on the Contra thread but I'll put it here too for posterity. A couple of days ago Contra liked a tweet basically implying Tube is a chaser of blonde Americans.
I doubt Ollie's that picky to be honest. I'm sure he takes whatever he can get.
 
I love star youtuber and thespian extraordinaire Aby Thorn so much, I am a top-tier patreon and bought tickets to every showing of [her] hit play The Prince
I pray to Aby every night before bed, thanking her for the life I've been given
"Aby is love" I say, "Aby is life"
My dad hears me and he calls me a tranny-loving faggot
I knew he was just jealous of my devotion for Queen Aby
I called him an unqueer cunt
He slaps me and sends me to go to sleep
I'm crying now, and my face really hurts
I lay in bed and it's really cold
A warmth is moving towards me
I feel something touch me
It's Aby dressed as Hotspur
I am so happy
[she] whispers in to ear "time to learn some phallosophy, lad"
[she] grabs me with [her] powerful man hands and puts me on my hands and knees
I'm ready
I spread my ass cheeks for Aby
[she] penetrates my butt hole
It hurts so much but I do it for Aby
I can feel my butt tearing as my eyes start to water
I push against [her] force
I want to please Aby
[she] roars a mighty roar as [she] fills my butt with [her] phallosophical knowledge
My dad walks in
Aby looks him in the eye and shrieks, "WOMEN AND GAHLS, AMIRITE?"
Aby leaves through my window
Aby is love, Aby is life
 
Does anyone have that ill-fated Discord channel #?

I worry about fabulous posters like @AssignedEva not being able to post about their feelings, babe. I have a couple of invites that would ensure a healthy TOOB community, but I can't just give them away...
Aw thanks babes, I'm actually on the Discord but I don't use it much (it's fairly fast paced compared to a forum so catching up is a slog).

I regret to say that despite having tickets, I didn't go to watch The Prince. The impromptu statey funes three day weekend meant I was hungover for about another three days (I'm not young anymore...) and couldn't face travelling to Elephant and Castle to watch Ollie mince about a stage.

I'd observe that the Graun's standard rating for a play tends to be three stars
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Reviewers see so much theatre that it's only memorable plays (either good or bad) that get something else. For the month of September their ratings of plays were:

1 star: 1 (it turns out a prog rock musical featuring holograms is bad)
2 stars: 8 (notably including the Gary Barlow autobiographical one man show)
3 stars: 28
4 17 (I, Joan is here)
5: 2

Half the plays get three stars. Hilariously one of the rare 5 star reviews is for a revival of Much Ado About Nothing featuring neurodiverse characters:
A number of aspects elevate the production. One is the involvement of Ramps on the Moon, which aims to normalise the presence of deaf, disabled and neurodiverse people on British stages. Another is the most compelling Beatrice you might ever see: Daneka Etchells plays this script like a maestro, somehow finding new notes in lines that are four centuries old, even making some of it feel like it was written yesterday. When Beatrice’s shield of wit is pierced by heartbreak, Etchells – who is autistic and can’t suppress their physical tics – shows the character stimming. Watching them resolve to remain calm is deeply affecting. The presence of surtitles, actors using British Sign Language and a diverse cast all enrich the storytelling. In this production Hero mostly doesn’t speak, she signs. The injustice when she is accused at the altar of infidelity is immeasurable and extraordinarily moving. Director Robert Hastie takes liberties with the script, each one a smart decision. Guy Rhys’s eminently watchable Benedick departing the stage with an “I pity the fool” cast at those that fall in love? Perfect. When he describes Beatrice’s missives of love to him as “a bit top shelf”, it’s hilarious. Hastie also gives new context to existing lines. Benedick overhears his friends plot against him while pretending to be Don Pedro’s masseuse, giving a new meaning to “there’s the rub”. Irresistible.
Oh dear, Ollie, you got eclipsed by someone else riffing on Shakespeare by using contemporary slang and having characters be part of a marginalised group while featuring actors from that marginalised group.

Anyway the point of all this sperging (other than celebrating Kiwifarms is back) is that a 3 star review in the Graun is nothing to write home about. A lot of the time, the only people reading these three star reviews were people already considering going to see the play who want a report on what to expect. For recommendations people tend to turn to This Week In Theatre (The Prince is conspicuously absent from that) or the featured articles.

Vaguely curious that the script got published. It's not vanity press but Methuen Drama, so an actual respectable publishing house picked this up. On the other hand Methuen Drama is specifically used by drama students and drama teachers alike as a resource (they also print compilations of monologues for actors to audition with) so maybe they wanted The Prince in their wheelhouse to update their anthology for performing arts groups:

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Also interesting to note that Ollie's production company was Metal Rabbit, who are actually a professional production company that has done some good work. While the play sounds like it was pretty tepid, I will acknowledge that Ollie's exceptional work ethic has come to the fore once again - he really engaged the grift on all channels to try and make it a success.
 
Sorry Olly, you're just boring. Your videos are bland and surface level at best, your tweets are obvious narc self-aggrandizement, and your play was so bad even your defenders gave it 3 stars.

Try doing something controversial; like say, admitting you raped Contra. That would get people talking about you again.
 
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He won a diversity award. He's gloating about winning the literal affirmative action of awards. Lmfao
His mission to become Phoebe Waller-Bridge continues at pace; she won the Best Female Performance and Most Promising New Playwright offies in 2014.

The OneOff award was introduced in 2020
The lockdown has been an extraordinary time for theatre, presenting challenges and threats to existing ways of working – to which creative practitioners and managers have responded with innovation and resilience. OffWestEnd is pleased to announce the ONEOFF special award to recognise the achievements of independent, fringe & alternative venues, companies, festivals and other initiatives in these difficult times.
Ollie is the second person to win an Offie award - all the others (multiple are awarded a year) are for production companies, theatres and festivals that either did something innovative and hybrid or increased accessibility in some way (the other individual was the Artistic Director of chickenshed, a suburban theatre that works with children with learning disabilities).

Ollie's writeup:
Abigail has been a pioneer for trans rights, not only across the sector of theatre but also in her online presence, starting with her acclaimed Philosophy Tube channel, which provided accessible insights into thought and argument and moving on to her powerful coming out clip, advocating her pride at being a trans woman and actress. She has been a mover and a shaker in the fight for recognition of trans equal rights, she has put herself online and on the line. She has argued with clarity and forcefulness. And at the same time she has pioneered trans representation in the theatre, notably her amazing accomplishment of reading all of Shakespeare’s plays over live stream during lockdown, 24 hours a day for five days, which raised the phenomenal amount of £100,000 for The Samaritans. She is currently (Sept/Oct 2022) starring in her own play “The Prince” at Southwark Playhouse, written in iambic pentameters using Shakespeare to explore identity and gender, which features trans and cisgender actors working alongside in a seamless way.

She is a woman who is a fighter but “at home in herself”, an activist and actress who just wants – and I quote her – “to treat everyone with kindness and patience”. We salute her achievements so far. There will be undoubtedly more to come. Abigail is a worthy recipient of our OneOff award.
His award is literally for being trans and being a YouTuber. Anyone can submit someone for consideration - I think Ollie might have helped with this, given it contains a lie; he did not increase trans representation in theatre by reading Shakespeare non-stop during lockdown.

He did that in August 2019. He still had his goatee at that point and it had nothing to do with lockdown (this was so long ago that Contra took part in reading lines).

Mary Malone (one of the actors in his play) actually just won an Offie for Best Supporting Performance (Ollie did at least give her a shout out).
 
Mary Malone (one of the actors in his play) actually just won an Offie for Best Supporting Performance (Ollie did at least give her a shout out).
Not a win yet for Mary, they got nominated for the award. The awards ceremony is held at the start of each year iirc.

Olly's Good boy award seems to be given out wherever and whenever Offwestend see fit though.
 
Happened across this interview:

The relevant section begins at around 30:00; before that just some ranting about how the NHS is on the verge of putting troons into concentration camps.

Written review from the same site.

Nothing too noteworthy, but mildly interesting. You can tell this is the sort of brown-nosing Ollie craves, but at the same time he projects contempt for the interviewer for not being important enough (that's the vibe I got anyway). This was apparently done on the press night, but the sound quality is awful, like it's taking place in the boiler room. Suggests to me he wasn't really prepared for interviews.

He describes most of the press there as 'cis-het conservatives' who apparently were 'fighting against' the 'queer' audience; he says the 'queer' audience ended up 'dominating' the others. It's not really clear what he means by any of this, but I'm guessing the serious drama critics were there just quietly doing their job, while those reviewing for obscure trans activist blogs/podcasts were obnoxiously cheering throughout. He claims he got a standing ovation on the press night, but judging by the reviews I doubt any of the real journalists participated.

He's asked why he chose to do something based on Shakespeare and he clearly struggles to answer. I had assumed it was because he just likes Shakespeare, but obviously I was giving him too much credit. He seems to imply that Shakespeare adds a veneer of seriousness to his very unserious amateur dramatics. Also apparently Shakespeare in some way compliments the TRA themes of his play, but he's vague about how this is so.

He says that the venture got automatic blank-cheque funding - the guy who put up the money didn't even bother to read the script. Ollie doesn't seem to realize that this is a bit eyebrow-raising considering The Prince is his first play. He's essentially admitting he got the green light purely for diversity reasons plus the fact that he's a successful YouTuber, rather than any actual merit.

He also says he wants to do some sort of YouTube/theatre crossover project in the future. Watch this space babes!

And is it just me or does his voice sound a bit different here? Like he's really amped up the falsetto.
 
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