Watch any trending livestream long enough and you will notice that conflict keeps eyes on screens better than any policy breakdown ever could. A careful explanation of a housing bill will not hold a room for ninety seconds but an accusation will hold it for an hour plus. Attention is counted, sold, and paid out, so conflict and outrage are converted into billable inventory, and the advertisements ride the wave.
None of this requires a conspiracy, only incentives. Nobody has to be told what performs, because the numbers say it publicly and in real time, and anyone with a webcam can read them. The machine is crude enough that a drunk could run it.
The most reliable input is grievance. A grievance arrives pre-loaded with a villain, a deadline, and a reason for the audience to stay, and it resists correction: disputing it costs more than making it, and the dispute arrives days late to a smaller room. Injury, staged correctly, is cheaper to produce than expertise and pays better.
In this article, we will break down victimhood as a business model, using two of Victimhood Inc.’s most notorious entrepreneurs: Jeremy Hambly (TheQuartering) and Lucas “Clara” Sorrenti (Keffals). They agree on almost nothing, which is the point of this case study: strip away the politics and the same steps run underneath both operations.
The Five-Step Method
Victimhood Inc. is built on a a five-step procedure. Any operator in the attention economy can learn it, and the peculiar thing about the two figures examined here is that they learned it independently of each other, on opposite sides of of the political aisle, and arrived at the identical mechanism.
Step 1: Chum the waters.
Before the injury, there is the provocation that makes it possible. The operator stirs the pot on purpose, names an enemy, aims a stream at a controversial figure, launches a coordinated campaign, or simply leaves the door open. The enemy is baited, the hive is kicked, and the response is then presented as an unforeseeable attack. This is the step that separates the wounded from the wounded-by-design, and it is the step almost everyone discusses least, because the operator has every economic reason to pretend it didn’t happen.
Step 2: Endure the crisis
Now that the trap is set, you wait for someone to spring it. It could be a ban, a wave of harassment, a supplier who cuts ties, or a rival who lands a sharp remark. The wound doesn’t have to be deep; it simply needs to be readable. It needs an antagonist with a face and a name.
Step 3: Apply partisan framing
The injury is handed to an audience already primed to read the world as a war. The person who hurt you is not merely a person who hurt you—they are your side’s enemy, and they acted precisely because you are what you are. The antagonist is recruited as a member of the other camp.
Step 4: ?????
The wounded figure settles into the posture of the innocent. This is the cheapest and most essential asset. From this posture, any criticism becomes persecution, any setback becomes proof, any question becomes bait.
Step 5: Profit
The audience is asked to convert sympathy into a transaction. Patreon tiers. Coffee bundles. “Founders” inventory. The register varies—solidarity on one side, resistance on the other—but the arithmetic is the same: the wound is the inventory, and it must be turned over.
None of this requires that the injury be fake. It requires only that the injury be usable. Both figures under examination were, at moments, genuinely wronged. The model doesn’t rest on whether the wound is real. It rests on whether the wound can be reopened on schedule.
Keffles the Anarcho-Communist Transexual Fart Dominatrix & The Great Retard War of 2022
In March 2022, Lucas “Clara” Sorrenti could be found giggling to himself in his goon chamber as he made a name out of treating “ratioing” as sport on Twitter, months before Elon Musk bought the platform and renamed it X. The Keffles ratio method was simple: quote-tweet an easy target, direct the sycophantic handmaidens who make up his audience to the post, and watch his lame ass one liners like “Trans Rights are Human rights” receive more engagement in the replies than the original post. His targets were often mainstream names, in order to maximize his reach: Lauren Southern, Ben Shapiro, and a couple of other usual passengers in Conservative Inc.’s clown car.





Then came Destiny. Destiny has spent years declaring his love and support for trans folx, so why does Lucas hate him? Because Destiny said transexuals should disclose their status to their partners before sleeping with them. Sorrenti admits he doesn’t disclose his transexual status. That admission, if taken at face value, describes the conduct of a serial sexual assailant.

Stealthing is the act of depriving a sexual partner of the information they need to consent. It applies to condoms, and it applies to disclosure. Destiny criticized transexuals who sleep with people without disclosing their transexual status while Lucas admits to engaging in sexual assault proudly, and openly. Ironically, he also accused Destiny of rape by heterosexual stealthing (removing the condom during sex without consent) before walking the accusation back.
Later on, Lucas picked a fight with Destiny over trans-identified male athletes playing in women’s sports, and on March 23, 2022, Twitch suspended Destiny for “hateful conduct.” Sorrenti immediately bragged about his direct hand in the ban: “he picked a fight with me. he got banned. i won.” Within days of those tweets, in which he gloated over deplatforming a peer, a Kiwi Farms thread on Sorrenti opened. Lucas would later call that thread the “original sin” and the “reason a rifle ended up in her doorway.” But the sequence still begins with Sorrenti kicking the online beehive and teabagging wrecked honeycombs.


The Great Retard War of 2022


The industrial version of this method was #DropKiwiFarms. This was not a subtweet but a wide-scale deplatforming campaign supported by large industry names salivating at the idea of deplatforming the Kiwi Farms for any reason. Cloudflare, DDOS Protection services, and other top layer infrastructure necessary for both forum and basic web hosting. Keffles named Joshua Moon, the operator of the Kiwi Farms, as well as Tim Pool, Libs of TikTok and many others as enemies.
On August 5, 2022, Sorrenti was swatted in London, Ontario. Someone sent emails to city councillors impersonating him (using both his online persona “Clara” and his birth name). The messages claimed he had killed his mother, possessed an illegal firearm, and planned to go to City Hall to shoot every “cisgender” person (a Marxist, Queer-Academia label for people who decline to adopt fictional gender identities or participate the queer lifestyle). Police treated the threats as credible, obtained a search warrant, and sent the Canadian equivalent of a SWAT team to storm Keffals’ cum-crusted goon temple. London Police Chief Steve Williams publicly confirmed it was a deliberate third-party swatting attempt and opened a criminal investigation.

Transexuals everywhere rallied around Keffals, building him a press kit and coaching him until he could cry on command for a media that still looked kindly on transexuals, back before the “trans kids” movement went mainstream. GLAAD was running day-long media trainings for trans advocates as early as 2016, teaching “effective communication tools” and “how to do media interviews with journalists” , and the broader movement had already mastered the art of the sympathetic sit-down: Bruce Jenner’s 2015 Diane Sawyer interview was widely praised as a masterclass in media preparation, with commentators noting it was “no accident” that he “allowed himself to be vulnerable, shedding a few tears”.
This incident was immediately and primarily attributed to Kiwi Farms and the various influencers from Conservative, Inc. whom Lucas named as enemies. The swatting launched the high-visibility #DropKiwiFarms campaign, which generated mainstream media coverage and positioned Sorrenti as a central martyr figure for the cause.
Concurrently, Lucas launched a GoFundMe framed around “urgent safety needs” such as moving, replacing equipment seized by police (shopping spree, girlfriend!) and building a “legal fund”. It raised over $100,000 CAD. The narrative of a pitiful, victimized transexual activist under existential threat proved extremely effective at converting attention into cash.

The initial goal was specific: move overseas for “safety” (pursue a “lesbian” relationship with another transexual in Ireland), recoup losses from seized devices, and build a legal fund. After the initial target was met, the page was updated to say all further donations went “directly to my legal fund which I will be using to seek justice.”
Total raised: approximately $101,353 CAD.
A significant portion was used to pay a full year of rent upfront on a new apartment, estimated around $28,000. This was not listed as a primary use on the fundraising page. Money went toward travel, new streaming and professional studio equipment, furniture, clothes, helping friends with gear, and personal security consultations.
Private messages later surfaced in which Sorrenti expressed anxiety about how quickly the fund depleted and noted spending on “travel and replacing furniture and helping my friends out and buying new streaming gear and clothes,” adding that if people found out “I am definitely getting cancelled.”
The high-profile legal action against the London Police Service that was repeatedly referenced as the core justification did not materialize at the scale or in the form donors were led to expect. A Human Rights Tribunal process was mentioned, but it did not deliver the public reckoning or body-cam policy changes framed as the goal.
Timeline overlap with later public discussion of substance issues fueled additional questions about whether any portion of the emergency funds supported personal struggles rather than the stated safety and legal purposes.
Donors were sold an urgent, narrowly defined emergency: safety plus a legal war chest. A large share of the money funded Lucas’s hypersexual queer lifestyle. When questions arose, scrutiny was often framed as bad-faith attacks rather than accountability.
The #DropKiwiFarms campaign succeeded in its immediate goal when Cloudflare dropped the site. This was widely celebrated by Sorrenti’s audience and other pro-censorship advocacy groups as a victory for “safety and accountability”. The Kiwi Farms remained online, however, subsisting on a Tor node and then resurfacing on the clear net again, more resilient than ever. #DropKiwiFarms had failed. In the end, Joshua Connor Moon rose from the ashes of his own forum, the phoenix of the Retard Wars of 2022, crowned not by anyone in particular, but by the simple fact that his forum was still online.

The promised high-profile legal reckoning against the London Police Service never materialized at the scale or in the form donors were led to expect. A Human Rights Tribunal process was floated into the air like a shiny object and then simply dissolved into the dark. Lucas filed the complaint on April 10, 2023, seeking $75,000 in damages for injury to dignity, feelings and self-respect plus $50,000 for loss of income and other damages, along with demands for body cameras and mandatory human rights training for officers .
In February 2023, after publicly discussing a drug addiction dating back to the GoFundMe period, Lucas faced backlash as the grift collapsed. By May 2024, TYT had issued a correction titled “Keffals Is a Fraud,” following an in-depth investigation SomeOrdinaryGamers (Mutahar) investigation.
The same month, the case remained unresolved, with critics alleging that the “legal case” with the Human Rights Tribunal of Ontario was “dead” and that Keffals had been “lying about its status to avoid questions related to the money”. The only public record of the proceeding is a 2024 confidentiality decision addressing a third-party access request—an order redacting Sorrenti’s home address, telephone number, and email from the adjudicative records, rather than any ruling on the merits of the discrimination claim itself (CanLII, Sorrenti v. London Police Services Board, 2024 HRTO 924). No public reckoning. No body-cam policy changes. The curtain fell on an empty stage.
He attempted a few more grifts, but like his penis after the Thai chop-shop sex change, the business had been liquidated, the assets were gone, and the remaining inventory was purely decorative. Keffals and his censorship advocacy work were memory-holed within a deluge of inconvenient truths that plague the transexual movement as a whole.
Jeremy Hambly (TheQuartering), Senior Vice President of Culture War Grifting, Conservative Inc.
Jeremy Hambly, the Quartering, chums in plain sight. After allegedly getting on the phone with his YouTube representative and having the Kino Casino clips channel taken down, his hypocrisy has been on full display. The audience he claims to champion has noticed. His own fans are turning on him, and his censorious behavior has been on blast ever since the clips channel got yeeted back in April 2026. A man whose entire brand was “I cover the controversy” now finds the controversy pointed at him, and he has no coverage for that. Which is a problem, because he wants the threat. He needs it. And a man who has been repeatedly located, doxxed, and dragged through the internet’s ugliest corners does not forget how it happens. He remembers. He just doesn’t care.

So what does he do? Step one of the old playbook: chum. He walks his property like it’s a plant tour, doling out landmarks the way a frustrated real-estate agent shows off a listing. Fence line. Tree line. The way the drive curves. Enough geography, mapped out in casual beats, that any stranger with a search bar and a grudge could find the building by lunch. It is not just the bragging of a man who feels safe, but the staging of one who needs to feel victimized. He talks about his marriage, about friends in the house, about being a man under siege in his own home. He frames his wife as a protected class: untouchable, sacred, off-limits, right up until the moment he needs her, at which point she is back to being the prop again, the human shield with a name and a face, hauled out to prove the man has something to lose.
Every stream is another pass over the same coordinates. Every mention of the wife, the house, the friends, the yard is another line item in an inventory he pretends is intimacy but that is the whole trick of it: he packages reconnaissance as rustic domesticity, and the audience mistakes a man reading his own address book aloud for a man opening his life.
But here is what the playbook always gets wrong, and what Jeremy Hambly has never once learned in ten years of doing this: you cannot run the Victimhood Inc. cycle forever on a supply of wounds that keep coming from the same hand. That is why the fans turned. It was never really about the boys at the Kino Casino. It was about watching a man who spent his career selling outrage finally get measured by his own ruler.











VIDEO: Jeremy showed up 40 minutes late to TimCast, smelling like alcohol, got the show cancelled, then called Tim “very unprofessional.” He said he doesn’t need to be on time “because I’m a professional.”
So watch the rest of this Jeremy saga, because it will unfold in the order it always does. There will be an incident. There will be a villain, named within the hour, probably “blue-haired feminists” again, because Jeremy is too scared to call any of his detractors out by name. There will be the trembling monologue about the safety of his family (Heather, four dogs, and the bull), with links to his digital tip jars posted underneath. It will be very moving. It will also be very monetized.

Every grievance gets a partisan coat of paint, every setback a villain, every silence a conspiracy of his enemies. He tells people he’s going out. Casino. Bingo. The backyard. It’s location disclosure dressed as small talk, and then it’s doctrine: the mundanity is the cover, the itinerary is the hook. A man who has already been mapped, still dropping pins, still narrating the layout for anybody who cares to listen. He is not careless. He is performing carelessness, because the martyr needs an audience and the audience needs a map. Some men build a bunker. Jeremy built a content calendar.
He does not hide from the trolls. He invites them to try to ruin the business. Ruin the coffee business. Flag the YouTube channel. Come to the door. When someone does come, he tweets that they came. When a clip channel makes the marriage a circus, he answers on the main account, which is how you make sure the circus sells tickets.


He taunts them by name and category and states the transaction outright: “Every time they do something stupid, I just turn it into more sales.” “I’m monetizing them.” “This video is bait for those idiots who are just helping me monetize this channel.”
He taunts them by name and category and states the transaction outright: “Every time they do something stupid, I just turn it into more sales.” “I’m monetizing them.” “This video is bait for those idiots who are just helping me monetize this channel.”
Don’t Cha Wish Your Culture War Rant Got You Canceled Like Me?

The mechanism is identical: injury, betrayer, innocence, weapon, ask. The only difference is packaging, and ideology supplies it. Two influencers on opposite sides of a political war, sincerely opposed to one another, each discovered independently that a wound framed as persecution and sold as solidarity or resistance is the most reliable inventory in the attention economy. You don’t slaughter the goose. You just keep collecting the eggs and calling it a movement.
There is a pleasure in exhibiting the wound, and it is not a pleasant one. The humiliated figure restages the humiliation, and the restaging is the product. The audience receives it, the figure receives the payment, and each gets a version of the same satisfaction: witnessing, and being witnessed, at the site of the damage. The compulsion is shared and the arrangement is mutual, which is why it never resolves. It’s a feedback loop with a payout, two mirrors facing each other and calling it a business.

And beneath all of it lies Thanatos: the drive toward the wound, toward a state in which the self is no longer required to do anything but be wounded. This is not a literal wish to die. It is the pull to re-signify the self as the object of the wound, because the wound is the only thing that produces payment and the only thing that produces an audience. The identity is built from the reopened wound, and to close the wound is to dissolve the identity. So the wound stays open. The camera stays rolling. The footage is already in the can. The thumbnail is already made.




















