Well the beauty of 'Iyanla: Fix My Life' is that men are in every show. To our surprise, some of the deepest healing demonstrations have been with the men - the sons, the fathers, the husbands - because they agree to participate with the wife or the daughter or whatever it is we are looking at, and it is there.
Neither man nor woman is perfect or complete without the other. Thus, no marriage or family, no ward or stake is likely to reach its full potential until husbands and wives, mothers and fathers, men and women work together in unity of purpose, respecting and relying upon each other's strengths.
Many writers, especially male ones, have told us that it is the decease of the father which opens the prospect of one's own end, and affords an unobstructed view of the undug but awaiting grave that says 'you're next.' Unfilial as this may seem, that was not at all so in my own case. It was only when I watched Alexander [my own son] being born that I knew at once that my own funeral director had very suddenly, but quite unmistakably, stepped onto the stage. I was surprised by how calmly I took this, but also by how reluctant I was to mention it to my male contemporaries.
As he grew older, which was mostly in my absence, my firstborn son, Alexander, became ever more humorous and courageous. There came a time, as the confrontation with the enemies of our civilization became more acute, when he sent off various applications to enlist in the armed forces. I didn't want to be involved in this decision either way, especially since I was being regularly taunted for not having 'sent' any of my children to fight in the wars of resistance that I supported. (As if I could 'send' anybody, let alone a grown-up and tough and smart young man: what moral imbeciles the 'anti-war' people have become.)