"Last but not least among serial killer methodologies, we have women who kill their own children"
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“Last but not least” is the kind of breezy wrap-up phrase you’d expect before thanking the catering crew, not before naming one of the most emotionally radioactive crimes imaginable. That tonal mismatch is the engine of Pat Brown’s line: it deliberately yanks the listener into discomfort, then keeps going. By folding filicide into “serial killer methodologies,” Brown frames murder as a taxonomy problem, a menu of methods to be completed. The entertainment logic is clear: make the audience lean in by violating the expected reverence around maternal violence.
The subtext is a collision between two cultural stories. One is the true-crime habit of turning horror into categories and “types” that feel legible, even consumable. The other is the deeply policed myth of motherhood as innate care. Brown’s phrasing treats women who kill their children as a notable “methodology,” implying both rarity and special fascination. It’s not just about describing behavior; it’s about signaling a twist in the narrative, the kind that sells segments and keeps viewers watching through the break.
Context matters because this is classic infotainment cadence: a neat list, a punchy pivot, a taboo reveal. The rhetorical move trades empathy for control. It offers the audience the comfort of classification while smuggling in sensationalism under the guise of professional detachment. The line works because it’s frictional: it makes you feel the violence of the subject and the violence of talking about it like content.
The subtext is a collision between two cultural stories. One is the true-crime habit of turning horror into categories and “types” that feel legible, even consumable. The other is the deeply policed myth of motherhood as innate care. Brown’s phrasing treats women who kill their children as a notable “methodology,” implying both rarity and special fascination. It’s not just about describing behavior; it’s about signaling a twist in the narrative, the kind that sells segments and keeps viewers watching through the break.
Context matters because this is classic infotainment cadence: a neat list, a punchy pivot, a taboo reveal. The rhetorical move trades empathy for control. It offers the audience the comfort of classification while smuggling in sensationalism under the guise of professional detachment. The line works because it’s frictional: it makes you feel the violence of the subject and the violence of talking about it like content.
Quote Details
| Topic | Mother |
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