Acharya Prashant begins by stating that one looks beautiful when fighting for something beautiful, high, and lovely, with a glowing face. He questions how greatness can arise from a house where the television runs for six to eight hours a day, asserting that these are the same people who banged plates during the COVID-19 pandemic. He criticizes the societal norm of exploiting women—daughters, wives, and daughters-in-law—like animals in the name of culture and tradition. When he speaks to them about consciousness and views them as human beings, he is accused of instigating them and breaking their homes. Responding to a question about Vincent van Gogh's struggles from a Vedantic perspective, Acharya Prashant explains that it is very easy to accept the material world as the final reality. This is the conclusion that society and popular religion want to impose on everyone. Most people accept this, bow their heads, and bend their knees. However, some people have a problem with this. All true art is an expression of this problem. True art is an expression of a certain anomaly. It is a rebellion against the tyranny of the senses. The senses tell us that the stars and moon in the night sky are small, but Van Gogh's painting, 'The Starry Night,' shows them as large and significant. This is his rebellion. He says, 'For me, the stars are big, so I will not show them as small in my painting.' Acharya Prashant equates Vedanta with rebellion—rebellion against the eyes, the mind, the body, society, and the system. These forces compel us to believe that we are slaves to the processes of nature and that this chemical and mechanical life is our destiny. Vedanta is the cry of the ego for liberation. This cry, whether it arises in India, Europe, or America, is Vedanta. He states that beauty is not possible without courage. You look most beautiful when you are challenging physicality and worldliness. The common family is the biggest enemy of beauty and truth, which is why it persecutes artists like Van Gogh, driving them to madness or death. The speaker concludes by saying that the common, mediocre life, with its petty squabbles and materialistic pursuits, cannot give birth to greatness, art, or beauty. When one has been in the company of the great, one develops an aversion to this common life and feels only compassion for those trapped in it.