Clavicular’s Looksmaxxing Streams Turn Women’s Humiliation Into Entertainment

Clavicular’s streams turn judgments about women into a recurring form of entertainment: he rates their faces, comments on their sexual availability and describes them in language that strips away their individuality. The format matters. Such moments can look like disposable clips in a crowded feed, while the people featured may carry the consequences after a broadcast ends.

Clavicular is the online name of Braden Peters, a 20-year-old creator associated with looksmaxxing, a trend focused on improving physical appearance. His streams, mainly on Kick, compare men’s looks and rate women’s. He has become a prominent figure in online spaces where appearance is treated as a measure of status. YouTube removed his original channel in November 2025 and later took down two replacements. The channel removals haven’t ended his reach across other platforms.

When ratings become the format

Peters often calls women “foids,” a shortening of “femoid,” and promotes a view associated with blackpill ideology: that women choose partners chiefly by appearance. In material for his online academy, he labels women “targets” and “slayables.” Those terms recast dating as a contest in which women are prizes to pursue, rather than people with preferences and boundaries.

The language isn’t separate from the stream’s action. Peters often broadcasts from parties and clubs, where interactions with women become material for an audience. In one clip, he holds a young woman’s face as she tries to turn away, then says, “I’m not done looking at you!” During a trip to Israel, he said he wouldn’t speak to a woman unless she wanted sex, adding, “Just tell the girls I’m looking to have sex in a bathroom.” The clips make the power dynamic part of the viewing experience.

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His “face rating” also travels beyond his own streams. On a livestream with Adin Ross, Peters gave Adam22’s wife a 5.5 on his attractiveness scale. Asked about celebrities including Sydney Sweeney and Margot Robbie, he called Sweeney “ugly” and argued her appeal came mainly from her breasts. He said even a 9.5 was hard to reach and described Victoria’s Secret models as the “highest echelon of women.” The grading system turns a subjective opinion into a public ranking, with the creator cast as its authority.

Peters has defended his remarks. In a February interview with Piers Morgan, he rejected the suggestion that his comments were misogynistic and argued that women often refuse to regard men under six feet tall as fully human. “They are the most fucking brutal gender,” he said.

Liz Roberts, CEO of victim services organization Safe Horizon, told Mashable that Peters and other streamers have attracted audiences by demeaning and humiliating women, including through dehumanizing language. “Misogyny is finding new audiences online, where old ideas about women, gender, and power are being repackaged as entertainment for a new generation,” she said.

A wider pattern across creator culture

Peters is one visible example of a broader set of creators whose material frames relationships through dominance and contempt. Fresh & Fit co-host Myron Gaines has described men as “dictators” and women as their “subordinates.” Andrew Tate has said a woman and her intimate body parts “belong” to her male partner. These examples differ in style, but share a premise: that control over women can be presented as advice, provocation or spectacle.

Similar concerns reach smaller streaming circles. Footage circulated this week that appeared to show Drago, a Kick streamer reportedly friends with Peters, grabbing and punching fellow streamer MiaMaxxed at the SeeEx event. Other people reportedly poured milk on her. Drago has said he acted in self-defense, alleging that she attacked him first and damaged his property. The competing accounts make the footage difficult to assess in isolation, but its circulation also shows how a confrontation can become another streamable spectacle.

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Women who stream have also described viewers crossing boundaries in person. At TwitchCon in October 2025, an attendee grabbed streamer Emiru and tried to kiss her during a meet-and-greet. “I’m obviously shaken up by what happened, and it’s not the first time I’ve dealt with something like this,” she wrote afterward. She criticized the response at the event, saying the attendee was allowed to leave after her security guard intervened. Twitch CEO Dan Clancy later apologized and acknowledged failures in both prevention and response.

What young viewers learn from the feed

For young people still forming ideas about relationships, creators can become informal guides. Viewers might arrive for dating advice, exercise tips or reassurance about their appearance, then encounter claims that women are shallow or that humiliation and dominance are ordinary parts of intimacy. The shift can be subtle: a joke, a rating or a clip repeated often enough to feel familiar.

Roberts told Mashable that young people are still working out what respectful relationships look like, and that online material can shape how they understand power and control. She argues that conversations should help them identify harmful behavior early. Telling someone what to wear or whom to see, humiliating them, and describing women as objects are warning signs, she said. Recognizing those patterns gives young people a basis for questioning them and building healthier relationships.

Research from Ofcom in 2025 found that participants often described watching manosphere material as entertainment. Yet people more deeply involved in closed online groups appeared less likely to challenge what others said or did. When belonging depends on going along with the group, speaking up can carry a social cost.

That’s the practical concern raised by Peters’s popularity: a stream doesn’t have to instruct viewers directly to shape what feels acceptable. Repeated ratings and degrading language can make contempt look routine, especially when the format rewards the creator with attention. Helping young viewers recognize those patterns gives them a way to question the performance before it starts to look like a model for everyday relationships.