Monday, December 1, 2025

The Dojo's Top Ten Films that Encapsulate 2025

 




INTRODUCTION

            As another year ends, it is time for The Sociologist’s Dojo to rattle off the top ten Sociological films of the year. As with the last five years, I’ve decided to once again give readers a list of 10 events of the year that can be encapsulated in film. Understand that this is not an exhaustive list of events, nor even the ones that are “The Most Sociological.”  Instead, this is to provide an accounting of some of the noteworthy happenings of 2025 and the films that epitomize their essence; either directly or tangentially. With each event, I will provide a brief explanation followed by how the film(s) relate to each incident. This list is obviously limited by personal bias, the films I have seen, and my own specialties in Sociology.

            2025, the first year of the re-ascension of Donald Trump to the office of the
President, has seen many of our institutional systems fall under the weight of vast corruption, violence and vanity. Trump’s vanity project is materialized in the form of
an opulent ballroom. Project 2025 is in full swing with 50% completed in the first 200 days of Trump’s presidency. Deportation quota numbers has led to the Federal occupation of US cities by the National Guard and Immigration and Custom’s Enforcement (ICE). Denaturalization is still being pursued by the Administration in conjunction with the suppression of speech and a lack of due process.  This year highlights, as predicted, the continued crumbling of the United States as both a superpower and a democracy. Additionally, wars, political assassinations, and the proliferation of AI into building relationships, emphasize what kind of year this has been. Winter has come, and the end is nigh.    

 

 

10)   Trump’s Crypto Corruption: The Great Gatsby (2013)




            To commemorate his second inauguration, Trump in conjunction with his sons Don Jr., Eric and Barron created a Trump and Melania meme coin. This is a form of digital currency popularized among billionaires for its lack of regulation, versatility in financial markets, and transactional speed. It is through this new-ish form of currency that provides the means for a very old stock market practice- ‘the pump and dump’ scheme. A form of stock market fraud in which ground floor investors in a particular stock manipulate its valuation through the spread of misinformation, inflating the stock price and then selling their stock at the highest price. During the lead up to the 1929 stock market crash, this was standard practice for the elite class of powerful oligarchic families and contributed to the fundamental collapse of the US economy. To be fair, the collapse did not rest solely on the practices within the stock market, but the creation of the credit economy in general was designed to stratify class and non-white racial groups away from the wealthy white elite to maintain their ethnocentrism. Trump has expressed on more than one occasion that the time-period that he wants to go back to is this pre-crash gilded age. To further this along, after his inaugural meme coin netted Trump and his family billions of dollars, Trump’s family created World Liberty Financial; a crypto currency venture. In their first act of naked blatantly bold-faced corruption, in May of 2025, World Liberty Financial held a dinner for the top investors at the White House. This is paying to have access to POTUS. The second act of blatant corruption was when the Trump administration, in a variation of the “pump and dump” scheme, decided that a portion of US financial reserves would now be held in crypto currency. This forces the US Treasury to buy crypto currency that both shores up the crypto market, making it more stable, a benefit to the Trump family, and makes the US Economy that much weaker.

            Baz Lhurmann’s The Great Gatsby illustrated the proper lunacy of the grimy glitz of the Pre-crash United States. Much like Lhurmann’s previous work with Decaprio (Romeo and Juliet), both collaborations have an esthetic personality without substance. This works better for Gatsby given the subject matter, but neither film encompasses the cautionary tale of either story. Instead focusing on surface level aesthetics. This shallowness of Lhurmann’s adaptation strengthens the comparison to Donald Trump. A man famous for missing the point of Citizen Kane. Here, because Lhurmann misses the point for him, it is easy to imagine that if Trump did see this adaptation of the Fitzgerald classic, he’d want to replicate it. In fact, as of this writing, during the 2025 government shutdown, on the eve of Food Stamps/SNAP benefits running out, Trump hosted a ‘Gatsby -like “ Dinner at Maralago.  It seems he is already living the dream of Gatsby with an equally fragile veneer.          

           

 

9)   Trump’s Tariffs: The Big Short (2015)




            From January to April 2025, President Trump began to implement steep tariffs on a variety of countries and specific goods. This decision was born out of ignorance. Specifically, Trump’s ignorance over understanding the definition of a trade deficit. A trade deficit is when a country imports more goods than it exports to a particular country. For example, it would be accurate to say that the US has a Trade deficit with China because we import more goods from China than we export there. President Trump frames a country having a trade deficit as being economically weak and a result of bad economic trade deals. Going so far as to say that because of a trade deficit with another country, that the United States is “getting ripped off”. That is ignoring the reality that no country needs or wants all that another country exports. This misunderstanding has led to one of the most misguided and baffling series of economic decisions. Trump began to unilaterally decide seemingly randomized increases in reciprocal tariff percentages on nearly all imported goods. But, when you dig a bit deeper, it was simple math not done with the care and understanding of the Macro Economic impacts this would cause...Because it seems in addition to not knowing what a trade deficit is, Trump also doesn’t know the definition of a tariff or how it is typically used.  

A tariff is a tax on imported goods that is paid by the importer of the country that is consuming those goods. Basically, the more goods a country imports, the more they will pay tariffs.

Tariffs are typically used as an economic tool 1 of 3 Ways:

1.      Protect and bolster Domestic Industries and Production (To get more industries to move Production back inside a country)

2.      Generate Government Revenue (Tariffs near permanent)

3.      As a bargaining tool for Trade Negotiations (threat/loyalty Test)  

 

When Trump first announced these tariffs during the 2024 Presidential Election, he began to sow confusion on which of these ways he would be using the tariff power, implying these ways are easily interchangeable. They are not. Clearly, if a country wants to use a tariff to generate revenue, the tariff needs to remain in place long enough to be able to collect a significant amount of money. That defeats the purpose of using it as a threat or loyalty test between countries because it can no longer be used as a negotiating tactic. Trying to bring domestic industry back to the country also requires tariffs to be semi-permanent in order to convince industries and companies to change their business model, which would take years, and at great expense. Still, Trump regularly would change tariffs after leaders of other countries would meet with him.   Therefore it seemed that he was using it as a negotiation tactic, but when asked about why he was using tariffs that were hurting American businesses he rejected the premise of the question by saying that they were helping the American businesses by bringing back jobs; which would only be true if they weren’t being used as a negotiating tactic!  This intentional deflection and misdirection, a staple for The Trump administration, convinced many of  his supporters to believe that the exporting country pays the tax. This left them with a bit of sticker shock when prices on goods started to rise. This being the exact opposite of Trump’s successful campaign promise to lower grocery prices.

            Adam Mckay’s The Big Short, attempts to narratively explain the subprime mortgage crisis of the late 2000’s. The story follows people who both uncover and profit from the bursting of the housing bubble. The callous way in which major banks inflated borrowers’ income to put them in houses that they could not afford and then repackage and dump those bad loans on other banks, shows more intelligence than the Trump administrations tariff tactics. But to legitimately wreck a trusted and financially secure market (housing) for short term gains, speaks to the same mindset with which Trump and his cavalcade of cronies just “flipped the table” on international trade.

 

 

8)   Algorithmic Software: Her (2013)




            When “smart phones” first came out there was a legitimate concern that the public would soon be outsourcing their critical thinking skills to this new piece of technology. But during cultural lag- the time between when a piece of technology is created and implemented and when it becomes a cultural necessity to live comfortably, we decided to lean into the use of this new technology. The result at first was ease and convenience (for those who conformed). And as older technology got phased out and more organizations and businesses adopted applications and online templates, we saw a precipitous decline in the number of human interactions. This created an additional bureaucratic barrier to social interactions and erected a class barrier for certain jobs as most applications are filled out online and therefore require internet access. This is the capitalistic process of “planned obsolescence” where the technology we’ve come to rely on is designed to not last as long, either because of its functionality being short lived or they discontinue the product or its parts because of newer stuff they are trying to sell. This is the basics of consumer engineering, and a consequence of the endless drive for profit.

            This technological expanse has now entered the “learning algorithmic software” mistakenly labeled “AI”- as the software is not currently sentient, or self-aware…yet. Since its quick implementation, AI software has been replacing entry level and clerical jobs and is now being embraced by the  academy. This is both ironic and sad. Ironic because for the last 10 years there was a push for academics to get their work outside of “the ivory tower” of academia to a wider audience through more easily accessed publications (blogs, podcasts, zines etc.). Little did we know that these open access materials would be the primary sustenance for this new algorithmic software to learn from. This is analogous to training a co-worker that will eventually replace you. It is also sad because as this ‘cognitive offloading’ continues, the more reliant we will become. Research skills, language skills and self-reliance will all be recontextualized in a world dominated by this software, which has been shown to be racist and promotes suicide.    

           A lot of obvious choices for films that could be used to represent the expanse of “AI” algorithmic software come from the sci-fi genre: The Terminator Franchise, The Matrix Franchise etc. But considering the startling revelation that Gen Z and Gen Alpha are now using AI chat bots for emotional support, as therapy and developing para social relationships with them, it seemed more prudent to choose the Spike Jonze directed, sci-fi romantasy, Her. The story revolves around the developing relationship between Theodore Twonbly (Joaquin Pheonix) and his AI personal assistant, Samantha (voiced by Scarlett Johansson). While a lot of the story is very monogamously and incel coded, it can give us a cinematic glimpse into what it would be like if these parasocial relationships continued as the software got smarter. However, unlike the dystopian fiction where AI inevitably sees humans as the worst scourge on the planet (to be fair there is A LOT of evidence); Samantha finds value in humanity. This can give us a window into what a peaceful co-existence might look like, considering humans like to be the creators of their own destruction. Shelley knew that centuries ago.       

 

  7)   The Gaza War: Double Feature: Lord of War (2005) Grave of the Fireflies (1988)




            In 2025, the Gaza War became a political lightening rod and supposedly ended with a ceasefire and peace plan, but not really. For the last year, Israel’s war with Hamas was a central political issue in the 2024 Presidential Campaign which cost Kamala Harris the election, given her unwillingness to distance herself from the pro-Israeli position of her predecessor. It sparked campus protests resulting in a crackdown on Colleges and Universities by the incoming Trump Administration; which then mutated into gestapo-like police disappearing students and activists for their political speech (more on this below).

            The double feature selected to represent The Gaza War in 2025 are two films that represent the profiteers from this war and a reminder of the everyday people that are caught in the crossfire.  The Nic Cage helmed Lord of War, illustrates the necessity and the inevitable protection of arms dealers by various governments around the world. They are the needed “boogey-men” to keep up appearances of propriety and diplomacy. The true winners in any war are those that sell the weapons. The US Government supporting Israel through direct funding of their Iron Dome and US defense companies having their munitions find their way into the hands of Hamas fighters. As we learned during World War II, war is big business and we have continued to maintain our ledger in the black. Concurrently, the true losers of the conflict are the civilians living in Gaza. Often described as “an open air prison”, Gaza and the Palestinians that live there are constantly under threat of Israeli bombings and raids with flimsy justification, bordering on laughable ( the phrase “Israel has a right to protect itself.” comes to mind). Living under this kind of threat, in the face of a country that has overwhelming support from the most powerful nations and whose creation caused the region’s first modern ethnic cleansing over 70 years ago, there is a sense that Gazans are the subject of genocide. Grave of the Fireflies, Isao Takahata’s brutal masterpiece about a brother and sister trying to survive the final months of the Pacific War during the 1940's stands proxy for the Gazans here. The raw and unflinching devastation depicted holds the spirit of the Gazan’s struggle as they have been subject to relentless bombings that have razed much of the homes and other infrastructure; making the region inhospitable.       

    

     6)   Trans Rights Backlash: The Death and Life of Marsha P. Johnson (2017)




             Of the oppressive litany of executive orders signed into existence by the Trump Administration upon coming back into office, some of the most reprehensible were the series of orders that targeted the LGBTQ community.

In this collection of Anti-LGBTQAI+ EOs:

·         The US government only recognizes two sexes (male and female) Defining sex as something that is immutably biological and an “incontrovertible reality” Therefore, the US is moving away from using the term “Gender ideology”- This is regardless of the evidence by scholars in a variety of fields that show the opposite of these claims and is overly simplistic. This means that all government documents and ID will be re-issued based upon an individual’s sex assignment at birth and not their preferred gender identity.

·         Reinstate and expand Trans gender ban in the military

·         Removing medical coverage for gender affirming care, and threatening to prosecute those that support the transitioning of young individuals  

·         A moratorium on Trans kids in sports.

These executive orders were the culmination of the Administration’s Anti-Trans smear campaign during the 2024 election cycle. Apart of which was equating Trans and others in the LGBTQ community as dangerous pedophiles. Thus, the Right’s outrage and aggression was in the righteous service of protecting children and women. Yet, at the time of this writing, the longest Government shutdown has just ended, and in the coming weeks, Congress will vote on whether or not to compel the DOJ to release the Epstein files. This is coming just after a collection of leaked e-mails from the Epstein files that allude to Trump allegedly raping a young girl. This caused known Fox News Personality, Megyn Kelly, to split the thinnest of hairs in an attempt to justify these actions by saying (about Epstein) “He was into the barely legal type. Like he liked 15-year-old girls. There’s a difference between a 15-year-old and a 5-year-old.” Firstly, the phrase “barely legal”, often used in the porn industry, implies that those that fit that distinction are of, or just over, the legal age of consent (which is 18). Secondly, Kelly is ironically positioning herself  to defend and recontextualize rape and sexual assault from the  men that she herself was victimized by; both at Fox and by Trump himself a decade earlier. When you couple this information with the recent comments made by RFK Jr about girls puberty, and it seems that we should be more afraid of rich powerful Billionaires being Pedophiles than anyone within the LGBTQAI+ community, especially those that identify as Trans.    

            The right-wing conservative Christian white men have always been creepier than any other race, gender, political, or religious combination. There is a sense of constant repression that also seethes with venomous rage whenever these men talk about the LGBTQAI+ community. One popular opinion is that many of these men are gay or bisexual and live in the closet because of their religious and political beliefs. This is anecdotally supported by the time Grindr, the gay hook-up app, crashed in the same city, and during the same weekend as the RNC in 2024; and rumored to have surged again in the city where Charlie Kirk’s funeral was being held. Despite the company refuting this, it adds to the overall public perception that closeted gay and bisexual men in the Republican party rage against the LGBTQAI+ community because they are living the sexual freedom these Republican men wish they could. This also gives reason to their false belief that being gay is a choice because they choose to present as straight every single day.         

            The Death and Life of Marsha P. Johnson tells the little know story of the titular activist. It chronicles Marsha P. Johnson and Sylvia Rivera, prominent figures in gay liberation and transgender rights movement in New York City from the 1960s to the 1990s and co-founders of Street Transvestite Action Revolutionaries. The film centers on activist Victoria Cruz's investigation into Johnson's death in 1992. Johnson’s activism: her participation in the Stonewall protests, the creation of STAR (Street Transvestite Action Revolutionaries) and work during the AIDS crisis cement her as a important figure in Trans liberation. Some of the policies that are currently rolling back rights are directives and issues Johnson fought her entire life to protect or prevent. To get back to a better place where those in the LGBTQAI+ community feel safer, we need to channel the spirit of Marsha P. Johnson and know what she stood for and use it as a rallying cry for our current activism.


      5)   The Domestic Rendition of Immigrants: Rendition (2007)




             From the minute that Donald Trump took the stage to announce his candidacy for President back in 2015, he has scapegoated immigrants, migrants and anyone who looked or identified as Black or Brown to be the dregs of civil [read as white] society. He has called them murders and rapists, blamed them for eating pets, and used dog whistling tactics to avoid accountability when blaming Black people for city crime. They have been his villain to scare rural and rich white voters into getting him in and back into power in 2016 and 2024. This fear extended to legal immigrants and naturalized citizens who were people of color that voted for Trump because they thought that he would just deport people with a criminal record. The problem is, with the implementation of Project 2025, under the watchful eye of reanimated Nazi corpse Stephen Miller, the mere presence of an undocumented person is considered a crime, even though the first offense without a prior criminal record is only legally a misdemeanor and not a felony. This racist immigration reform has led to the harassing and oppression of the Black and Brown communities.

             On September 25th 2025, after Trump declared Antifa a Domestic Terror Organization, he instituted National Security Presidential Memorandum Number 7 (NSPM-7). In that it identified:

“Common threads animating this violent conduct include anti-Americanism, anti-capitalism, and anti-Christianity; support for the overthrow of the United States Government; extremism on migration, race, and gender; and hostility towards those who hold traditional American views on family, religion, and morality.”   

It is important to understand that this is not an Executive Order. It is a directive for a culture shift of National Security Operations.

We have seen similar directives in other periods of Political Strife:

      The Black Panther Party experienced such surveillance, infiltration and assassination (Fred Hampton) during the 1970’s.

      The Muslim community experienced greater surveillance, detention and rendition in the years after 9/11.

However, Trump’s NSPM-7 seems intent on being applied more broadly to include any political dissidents of the current Administration. This is normalizing First Amendment Violations.

            During the early 2000’s as we were reeling from 9/11 and beginning to implement what would become “The War on Terror”, Donald Rumsfeld under the direction of then VP Dick Cheney, created “enhanced interrogation techniques.” for those suspected of terrorism. These techniques included: Auditory stress stimuli, light sensitivity, threatening detainees with dogs, holding stress positions, naked humiliation, rectal rehydration, and most famously, “waterboarding”; where the experience of drowning was simulated. After a decade and a half of using these techniques, the Senate Intelligence committee would eventually call these tactics torture. The most egregious of these interrogations never took place on American soil. Instead, through a process called Rendition, a foreign criminal or terrorist suspect is covertly detained and interrogated in a country with less rigorous regulations for the humane treatment of prisoners, away from that person’s family and any kind of stewardship. These detentions and interrogation were often done at US “Black Sites” where what goes on there is not subject to domestic or international law.

            Immigration and Customs Enforcement (I.C.E.) was created in the wake of 9/11. After the passing of the “Big Beautiful Bill” Congress has increased ICE’s budget by 700%. This has caused a major recruitment effort by the DOJ for ICE agents due to their self-imposed deportation quotas, that not only include white nationalist rhetoric, but also lower standards for officers.

Under these new Standards:

  1.  Agents can now be as young as 18, and there is no longer an age cap for new hires.
  2. The agency has also cut training time for recruits from 13 to eight weeks, by reducing Spanish lessons, firearms training and classroom hours.
  3. Working for ICE does not require a high school diploma, a military background or any law enforcement experience. An aspiring ICE agent only has to pass a background check, meet physical and medical requirements, and complete the abbreviated training course.
  4. Since lowering these standards, new ICE recruits are failing the required physical exams
  5. This results in many of these agents not being fully vetted. Many have criminal records, don’t pass drug tests or are unable to pass a written exam on The Immigration and Nationality Act and The Fourth Amendment (outlining searches and seizures). 

6.      The lack of training has led to violent interactions with civilians that has resulted in feelings and expressions of terror

The quotas are not being reached due to a low number of undocumented individuals not being convicted of a crime. Therefore, they have started to snatch people off the streets, detaining them until they can determine if they have a warrant and then if they can’t find anything to charge them with, they will be released…once they have their name and all documented information. This is when people started to get disappeared.

In March 2025,  Mahmoud Khalil, a Graduate of Columbia University and a Green Card holding Permanent Resident, was Arrested by ICE and extradited to a detention center in Louisiana. The Government alleged that Khalil “led activities aligned to Hamas, a designated terrorist organization.” The reality is that Khalil was the lead negotiator for Student Protest at Columbia in 2024 to help the University divest from the war in Gaza, one of the demands of the Student Protestors. As of 9/18/25: A Louisiana Immigration Judge has ordered that Khalil be deported to  Syria or Algeria. The case is currently being appealed.

 This is an example of Domestic Rendition: The removal of an individual to US “black sites” (in this case the Louisiana detention center) where they cannot be reached. Thereby impeding their right to council until they are removed. This swift removal is in violation of Due Process Rights.  Miller and the other brainrot children of Project 2025 used the Bush Administrations tactics for terrorist interrogation and apply it to undocumented migrants and political dissidents.

The film Rendition is a story of mistaken identity. When a terrorist attack kills 19 in North Africa, Egyptian-born Anwar El-Ibrahimi, a chemical engineer living in Chicago with his mother, his pregnant wife Isabella, and their young son, is believed to be linked to known terrorist Rashid by records indicating several calls to Anwar's cellphone. Returning from a conference in South Africa, Anwar is detained by American officials and sent to a secret facility near the earlier attack, where he is interrogated and tortured. While this film was released during the end of the “official” War on Terror, the film itself indicating its own self-reflection, The plot of this film is what is happening daily in occupied cities like Chicago and Portland to many undocumented people. They are being harassed by federal agents looking to vanish them.

           

 

4)   The Government Shutdown: I, Daniel Blake (2016)




            On November 5th, 2025. Donald Trump surpassed himself. On that date, his administration had exceeded his own record for the longest Government Shutdown in US history. Granted, an argument can be made that in his second term, Trump has surpassed himself in numerous ways before this, particularly in abject cruelty and cronyistic corruption with dashes of racism, misogyny and ableism; and it would be valid. With the government shutdown, which concluded after 43 days, cruelty was the point.

By October 1st of this year, the Senate needed to pass a funding bill to keep the government open. The bill that was proposed by Republicans included funding for the tax cuts passed in the “One Big Beautiful Bill”, whose provisions state that those tax cuts were paid for by the reduction of social programs like SNAP, Medicaid, and an unwillingness to extend tax credit exemptions to those covered by the Affordable Care Act (ACA). Rather than see millions of people’s Health Care Coverage Premiums double or triple, Democratic lawmakers in the Senate held firm and allowed the government to shut down.

 During the Shutdown, Federal workers were furloughed. Many others working without pay were promised reimbursement once the government reopened. This affected those in the military, people on food assistance, and air traffic controllers as the holidays are on approach. Blame was thrown both at Republicans and the Democrats; but according to public polling, Republicans took the brunt of it. This could be because while the government was shut down the Trump administration attempted to fire 400,000 workers, threatened to not pay the federal workers retroactively, and pushed for the elimination of the filibuster. Yet, the more that the Democratic party uncharacteristically dug in, the more the ire of the country turned to Republicans, culminating in one of the biggest election wins for Democrats. The election of Zoran Mamdani, the redistricting vote in California, House wins in Virginia and New Jersey, flipped seats on the Public Services Commission all point to not only public support of Democrats in the shutdown fight, but a shifting to the left for general policies. After their remarkable electoral trouncing of Republicans, eight Democrats celebrated by immediately caving to the Republicans, allowing the government to reopen.

In a bewilderingly masochistic move orchestrated by human jellyfish Chuck Schumer, Sen. Jeanne Shaheen of New Hampshire, Sen. Dick Durbin of Illinois, Sen. Tim Kaine of Virginia, Sen. Maggie Hassan of New Hampshire,  Sen. Angus King of Maine, Sen. Jacky Rosen of Nevada, Sen. Catherine Cortez Masto of Nevada and Sen. John Fetterman of Pennsylvania broke party ranks to side with Republicans to end the shutdown- without a guaranteed extension to the ACA tax exemption; the party’s whole position. The senators listed were allegedly chosen by Chuck Schumer because of their distance from or willingness not to seek re-election. Cognizant of the blowback they would experience.  Once again, Trump and the Republicans learned that weaponized cruelty will break even the most sensible and publicly supported obstructionist political tactics; and the Democrats continue to snatch defeat from the jaws of victory.

The 2016 film: I, Daniel Blake, illustrates many of the experiences of individuals on social services, furloughed, or threatened with loss of their medical coverage during the recent US shutdown. In the film, Daniel Blake (Dave Johns) is a 59-year-old woodworker who suffers a heart attack; and then must navigate the bureaucracy of the UK welfare and healthcare system to try to survive. What follows is an infuriating series of events that highlight the purposefully labyrinthian process to get needed care and support in a system that is not designed to provide either. Most of the insurance companies, organizations, hospitals, politicians, would prefer that if we can’t pay for a commodity or service that we should just die.  We are all Daniel Blake.  

 

3) The Trump/Musk Bromance and Breakup: Friendship (2024)




The bromance between Elon Musk and Donald Trump began unofficially when Elon Musk and his “Paypal Mafia” friends began to criticize social programs, women’s right to vote and regulatory agencies. This put them on a trajectory that would intersect the re-ascension of Donald Trump. In 2024, Trump’s running mate, current VP, and stolen Southern valor grifter JD Vance was a protégé of fellow ‘Mafia’ member Peter Theil. Therefore, because Musk would not be financially solvent without government contracts, he often leans into the political rhetoric that will net him the most financial security. Trump’s stance on deregulation and his promise to “Drain the Swamp” (that he’d been a part of for nearly 10 years at that point) led Musk to support him.

 In May 2024 Musk created a Pro-Trump Political Action Committee (PAC). Publicly stating that he would contribute 45 million dollars a month to the campaign. Musk also delivering the aggrieved cis white ‘manosphere’ vote for Trump. In return, Trump offered Musk an official Advisory position to The Department of Government Efficiency (DOGE) Musk promising to root out waste, fraud and abuse, that would allegedly save the government 1 trillion dollars. That never happened. The goal was never to make the government more efficient. Musk helped get Trump elected so that he could secure government contracts. The cherry on top was Trump giving Musk permission to gut regulatory agencies and throw government operations into chaos -Trump using that destabilization to centralize even more power by weakening the institutions that would oppose him. 

As I mentioned in a previous essay:

 Since aligning with Donald Trump, [Musk] has seemed emboldened to express various levels and varieties of hate speech: from misinformation, general technocratic dehumanization (Eugenics) , Trans discrimination, sexism, antisemitism, and white pride that culminated in Musk giving a “Roman Salute” at Trump’s Second Inauguration that was interpreted by White Power Groups, and most of the general public, as the Nazi Zig Heil. At the time of this writing, The Department of Government Efficiency (DOGE) the Agency tasked with reining in Government bureaucracy and spending, that Musk (sort of, but not really, only actually) leads, is dismantling the regulatory agencies of the government that were directly overseeing his companies.

            The Elon/Donnie Bromance began to sour almost directly after the election with many of the Trump advisors unable to stand Musk's presence. Between the Ketamine fueled chainsaw waving spectacle at CPAC, to Musk’s open rejection of the “ One Big Beautiful Bill.” Calling it a pork-filled disgusting abomination, the tension was beginning to build. The tipping point came in Mid-2025 when Musk tried to influence the outcome of the Wisconsin Supreme Court Election by dumping 90 million dollars into the race. This included millions of dollars in election fraud as he offered 1 million dollars to rally participants. After such a costly and brutal loss, Trump started to distance himself from Musk.

            Like someone wanting their ex-lovers attention, Musk lashed out; creating The America Party ( That had a lot of White Nationalist iconography) to oppose Donald Trump. He also tweeted out that Trump was in the Epstein files and called for his impeachment. Something that the public already knew, but it hits different coming from the recently scorned. In response, Trump floated the idea of canceling Musk’s government contracts and Steve Bannon suggested that Musk be deported. Meanwhile, all the crypto ‘broligarchs’  are caught in the middle, reeling from both Tesla and crypto market stock drops.     

            The central characters in Andrew DeYoung’s Friendship, have aspects of Donald Trump and Elon Musk.  Austin Carmichael, (Paul Rudd) is a charismatic local Meteorologist that captures the attention of Craig Waterman (Tim Robinson) Austin’s neighbor. After a couple of “hangs” they start to form a friendship despite Craig’s awkwardness. They bond over music and work stressors, then give and take each other’s advice. But as this relationship gets exposed to other people; Craig, like Musk with Trump, feels insecure and lashes out. Austin breaks his friendship with Craig, but Craig continues to obsess about him, escalating his antics to such a degree that Austin feels threatened. But it is only when Austin is vulnerable and Craig covers for him, that the relationship eventually mends. I assume, if their financial or political interests were ever to realign, Trump and Musk, like Austin and Craig, could rekindle their lost friendship; to the detriment of everyone else in the world.

           

2) The Assassination of Charlie Kirk: The Parallax View (1976)

 


             On September 10th 2025 Charlie Kirk, right wing political commentator, podcaster and co-founder of the political group Turning Point USA, was assassinated. Kirk had been an outspoken supporter of Donald Trump, and at the time of his murder was answering a student’s question during a political debate, something he did regularly. Almost immediately, this horrific event was politicized. The FBI director Kash Patel was making public assumptions during the open investigation, misinterpreting the statement on the bullets to mean the suspect was on the political Left. Further examination weeks later revealed that the statements were a part of online meme culture. The Trump administration was so desperate to link the shooter, later identified as Tyler Robinson, to the political Left, that they used Robinson’s relationship with his Trans roommate to indicate his political leanings; when he seemed to not be politically affiliated with either party. Still, the Trump Administration politically weaponized Kirk’s assassination during their Rally-style memorial service, and further, used it to justify the declaration of Antifa as a Domestic Terror organization, the passage of NSPM-7, and the crackdown on Free Speech. Thus, the murder of Kirk became a justification for more authoritarian-like policies from the Trump administration.

            While taking advantage of this terrible crime is to be expected in this political climate, what is remarkable, that few have remarked upon, is the suspected nihilism of the shooter and how dangerous that a lack of ideology can be. In Sociology, Emile Durkheim first introduced the idea of anomie. This is the state of normlessness that follows any period of great social change. The upheaval caused by social change results in a lack of understanding of what the norms are among the populace. This uncertainty is socially and psychologically arresting. The lack of cultural and social norms will quickly unravel the social order of a society far quicker than the anarchic destabilization of “no laws” or “no government”. This is because a lack of cultural and social norms fundamentally changes how individuals interact with one another. Without established norms, we have a much harder time building relationships, families and communities. Thus, it is terrifying if a group of nihilistic individuals with a plan of action and access to weapons decides to “stir the pot” of political and social turmoil just to see its effects. Terrifying, because there is no reason or purpose, and no negotiations to keep it from happening. Events like this painfully illustrate the fragility of our social contract.

            The Parallax View is the second film in Alan J. Pakula’s “Paranoid Trilogy” that includes Klute and All the President’s Men.  The film tells the story of Joe Frady (Warren Beatty) who begins to investigate a series of political assassinations after the death of his partner Lee Carter. He uncovers the involvement of the Parallax Corporation and their use of scapegoats to deflect attention away from the corporations. Citing that the assassinations were the work of a lone gunman and not part of a political conspiracy. The way that the film uses sociological and psychological factors to craft a narrative that allows power brokers to maintain power; parallels the events in the wake of Charlie Kirk’s assassination.

             

1) The Rest of the World Expels Fascism while the US Embraces it: V for Vendetta (2005)




       As the United States has leaned into fascism with the re-ascension of Donald Trump to the office of the President, the rest of the world has retreated from it. In 2025, a number of former fascistic dictators were indicted by their own government, or through the International Criminal Court (ICC), thereby holding them (at least partially) accountable for their crimes.

·         In March 2025 Rodrigo Duterte was arrested under an ICC warrant for Crimes against Humanity; killing 6,000 people in his Anti-drug crackdown in the Philippines. Back in 2017, Donald Trump Praised Duterte’s tactics stating   “I just wanted to congratulate you because I am hearing of the unbelievable job on the drug problem. Many countries have the problem, we have a problem, but what a great job you are doing, and I just wanted to call and tell you that.”

·         In April 2025  Former Prime Minister of South Korea, Yoon Suk Yeol was impeached and later arrested by the country special prosecutor, charged with incitement of an insurrection and abusing power. Yoon was considered ideologically aligned with Trump and had even taken up golfing again after the U.S. president was reelected last November to try to forge a bond with him. When Trump was informed about the South Korean Special Prosecutor by US press he said “Is his name Deranged Jack Smith, by any chance?” referring to his own indictment.

·         In September 2025 Jair Bolsonaro of Brazil was sentenced to 27 years in Prison by the country’s Supreme Court in plotting a Military Coup to overturn an election. Bolsonaro often echoed Donald Trump’s rhetoric about “witch hunts”. In Response, Donald Trump framed the 50% tariffs on Brazilian goods into the US as retaliation for Bolsonaro’s conviction.

·         In October 2025 Nicolas Sarkozy began his 5 year prison term for conspiring to raise campaign funds in Libia. But he only served 3 weeks before being released to appeal the conspiracy charge. Some Frech Media outlets have blamed his release on the way that Trump and “Trumpism” have weaponized the global justice system allowing some leaders to escape accountability.  

Meanwhile, Trump continues to cozy up to dictators as he fashions himself into one. The most recent examples in 2025 are the entangled relationship Trump now has with Brutal Dictator Nayib Bukele of El Salvador, and Donald Trump’s defense of Saudi Crown Prince Mohammed bin Salman over the death of Journalist Shamal Khashoggi.

            Using Project 2025 as a guidebook, the Trump Administration deported and jailed US migrants in El Salvador’s notorious CECOT Prison. This became the focal point of US national news and general public interest regarding the case of Kilmar Abrego-Garcia who was wrongfully deported to El Salvador even though he had protections from a Federal Judge. The Department of Justice and Bukele stated separately that they didn’t have the power to release Garcia. On June 6th , Abrego-Garcia was returned to the United States under the charge of human smuggling and jailed in Tennessee. He was later released in July only to be detained by ICE during a routine check in.     

            In November 2025, Trump hosted Saudi Crown Prince Mohammed bin Salman at the White House. During a press conference, Trump defended the prince against questions about the prince’s knowledge and alleged culpability in the murder of Khashoggi; stating that the deceased was “extremely controversial.” And that Salman “knew nothing”. This is a direct contradiction to the 2018 CIA report that stated that the Crown Prince approved the murder and dismemberment of Khashoggi. This inconsistency is largely due to the 1 trillion dollars that Saudi Arabia will pay to the United States for new Fighter jets, a deal that The Crown Prince was in the US to finalize.

To be fair to the US, we did try to hold Trump accountable in 2024; he just used every loophole available to him and ran out the clock.

As I stated in 2024’s end of the year essay:

In May of 2024, during the campaign, Trump was convicted of 34 felony counts in a hush money trial to pay off Porn Star Stormy Daniels prior to the 2016 election. Additionally, the Department of Justice appointed Special Prosecutor Jack Smith to investigate Donald Trump’s actions on January 6th as to if it constituted Election interference, and a separate case in Florida concerning the mishandling of Government documents.

The federal case was delt a serious blow in July 2024 when the Supreme Court, in a 6-3 decision, decided that Trump while in office, and any President in perpetuity, has broad immunity from prosecution for official acts while in office. This eliminated a lot of the admissible evidence Prosecutor Jack Smith was able to use and caused him to have to refile the case under the new guidelines.    

 

            The James McTiegue directed, V for Vendetta, shows a world that at the end of 2025, seems to be on the US horizon. In the film, Britain is ruled by the Norsefire political party, a fascist and totalitarian regime led by High Chancellor Adam Sutler. The government controls the populace through propaganda and fear, imprisoning or executing those deemed undesirable, including immigrants, homosexuals, and people of alternative religions. This setting feels awfully familiar given the way that the entire Trump administration has been able to dismantle the system of checks and balances quicker than expected. Thus, mirroring the Pre-Nazi Germany of the 1930’s.   Thankfully, history, and the Wachowski’s penned script based on an Alan Moore graphic novel, gives us hope in the regime’s eventual downfall. The question remains how many will die in the process, and who will we have to martyr and sacrifice to topple this new American Reich.  

 

 


CONCLUSION       

            As I look out on the precipice of another year setting on the horizon; I was not expecting to bear witness to the detritus of American Democracy. As institutions continue to crumble, their collapsing debris being the last vestigial echo of a system that, through all its racist, misogynistic, ableist, capitalist horrors, still was semi-functional. Children of a younger generation, without social power and investment in these collapsing bastions, revel as they watch the social order they were set to inherit die, hoping to quicken its descent with their detached anomic nihilism. There is not much to be thankful for on that level, which is why it is essential for us to find love and joy wherever we find it. Whether that be among our family, friends, spouses, partners and ‘others of significance’, we cannot count on happiness coming from anyone other than inside and around all of us. See you all in 2026!    

           

 






Sunday, November 2, 2025

The Films of Julia Ducournau: Titane




            The second film in my analysis of The Films of Julia Ducournau is the genre-bending body horror thriller, Titane. Ducournau’s sophomore feature seems to crystalize and extend both the themes and the visuals she is interested in as a storyteller into a specified shape. The gendering of women and the patriarchal attempt to tame them, aging masculinity and the sense of identity loss that accompanies it, are present in this Palm d’Or winning wild wretched tale whose production was halted by the COVID Lockdown. This brief paper is a deconstruction of Ducournau’s second film as a cultural product; questioning the historical parallels of the anti-trans legislation at the time, with the films own complicated take on Trans issues and gender messaging; while examining the production and the overall craft of the film with the filmmaker’s desire to have this film be received as a story about unconditional love and acceptance.

 


PLOT

After young Alexia survives a car accident as a child, she develops mechaphilia and a penchant for murder. After committing a series of murders and a “one-night stand” with a Cadillac, Alexia flees. She alters her appearance to look like a lost boy and assumes his identity and is reunited with his father, Vincent. This ruse proves difficult to sustain as Alexia finds that she is rapidly progressing in pregnancy with an amalgamated mutant of her erotic dalliance with a car. As her new relationships are tested, both Vincent and Alexia must trust one another and decide if the lies between them matter less than the familial love they found between them.



 

HISTORICAL CONTEXT

            Both Titane, and Ducournau as a writer/director, were met with great acclaim while simultaneously bogged down by the challenges of an industry shut down due to a global pandemic. Additionally, a particular reading of the film correlates to trans discrimination bills and anti-trans rhetoric going on at the center of 2021 when the film was in production. This section intends to analyze these events and the perceived effect on the film. By placing it in a particular historical context, a richer understanding of the film as a cultural product can be achieved.

            Production

            One of the points of inception for Titane’s plot came to director Julia Ducournau in a dream. She would have a recurring nightmare about giving birth to engine parts. This recursion caused Ducournau to formulate the film’s ending and work backward from there. In the process of reverse engineering a story from the surreality of vehicular excision from the body, Ducournau took on an existential approach thinking about the metaphor of transformations and metamorphoses to get to the next stage of hybridization. Ducournau’s dream laid the foundation for this duality that she eventually would want to explore further: the warmth of giving birth and bringing life with the contrast of the metal representing lifelessness; cold and dark.

            In 2018, as the script was beginning to take shape, Ducournau had dinner with actor Vincent Lindon and mentioned to him that she had a part she was writing for him. In interviews, Lindon recalls not knowing if this was a pleasantry or an actual offer. Vincent waited for secondary confirmation before committing and then waited another two years before getting the script.

Titane marks the feature film debut of Agathe Rousselle (Alexia) who got a message on Instagram that she should audition for the film’s main protagonist. The film was so technical that there could be no space for improvisation. The role was also physically demanding, with both nudity, action and the willingness to masculinely present as a guy.  These demands that would have shaken a seasoned actor let alone a novice. And yet, Rousselle took it in stride and great care in crafting the role.

Titane was set to begin production in April 2020. Because of the lockdown orders that spanned the globe, the film began filming in September of that year, following all of the protocols and procedures of film production at a time when there were no vaccines on the horizon. Luckily, much of the film is centralized around the interplay between two characters, and they do not interact with too many more people outside of themselves. While it is easy to frame Titane as “a pandemic film” because it:

·                 Was shot in a single or multiple isolated locations.

·                 Involved few actors

·                 Blocked scenes with three or fewer people interacting at a time

·                 Had a limited crew  

·                 Included camera techniques to try to make up for the production difficulties

By looking deeper, the text of Titane also speaks to its position as “a pandemic film” because the themes of the film speak to the fragility of the human body and the thin veneer of health and wellness which we learned through the pandemic we hold in a tenuous slipping grasp. Even though this film is not about a global pandemic, the body horror aspects of the film remind us of the same vulnerability during COVID.

           

A consistent influence and paragogic mentor for Ducournau has always been David Cronenberg. While there are homages to his early body horror work in Raw, Titane draws heavily from Cronenberg’s much maligned film Crash, a relatively obscure movie about a group of car accident survivors that start to develop mechaphilia and a kink for car crashes. The way that Cronenberg shoots both the human body and the body of the car, echoes in Titane’s opening as the camera moves from underneath the car, looking at its different parts, before we go inside the cabin. This detail is mirrored by the camera as it follows Alexia through the showroom at the beginning of the film, revealing both Alexia and the glossy polish of engine parts of a car being sold. Alexia and the car begin as separate beings, but throughout the film, they start to merge. In Cronenberg’s Crash, that merging happens at the onset of the vehicular accidents caused during coitus; the survivors growing more machine-like with every collision. Titane takes this merging to be metaphysical, as the amalgamation is triggered by vehicular coitus and represented by the child of that union.

As the film was released on the festival circuit it garnered early buzz given its provocative premise and enigmatically shocking sequences. As the film was set to premiere at Cannes, it ended up taking the prestigious Palm d’Or. Infamously, this revelation was spoiled early by Spike Lee, who mistook first prize for first place, confusing Titane to be the runner up, rather than the winner. Regardless of the flub, Ducournau’s spirits did not dampen as she was, at the time, only the second woman to win the award and the first to win it alone. In that, Ducournau and Titane break both genre boundaries and glass ceilings in equal measure. Yet, the win was not unanimous, many on the Jury finding the film too avant-garde, often leaning into the anti-horror bias that is common in prestigious film festivals (Ben-hadj, 2021).  The genre being once again marred by derogatory labels of shlocky, popcorn, pedestrian, campy etc. Ironically, the rise and embrace of “elevated horror” as a concept redraws the boundaries of class culture within the genre. There are certain stories, because of its material or the auteur status of its director, that have been accepted by the elite class at regulating agencies, like festivals, which instead of balancing the genre scales, put their finger on it; making sure to gate keep horror, keeping it in its place. Ducournau winning the Palm d’Or, especially with a film as wild as Titane, is hopefully a turning point in allowing the eclectic messiness often found in horror to permeate the prestigious parts of the industry, causing a shift in both how horror is perceived, and the talent of those who create it.    

 



            The LGBTQAI Community in Crisis

            Sexuality outside of the white heteronormative cisgendered ableist capitalist patriarchy has always been marginalized (hooks 2000). The problem arises not in their existence, which has been a constant state in human civilizations (and documented in non-human animal species), but in a ridged latticework that is overlayed atop the naturally created universal spectrum of human diversity and identity. The mechanisms of control that create this caustically hostile system has its roots in historical institutional structures and cultural power dynamics that make it difficult to unearth, and whenever there is an attempt, those roots entangle themselves; knotting into a convoluted network that sinks deep into psyches, that is then lightly reinforced at dinner tables or behind closed doors, in court room decisions, in jury boxes, and store “etiquette”. It is hiding in plain sight, (not so) difficult to detect, more likely ignored, until those discriminatory branches decide to sprout.

            Most marginalized groups that have been othered by this wealthy white supremacist heteronormative ageist cisgendered ableist patriarchy have gone through periods of oppression with glimpses of social justice. Whether by race, gender, social class, or disability, all have experienced some amounts of recurrent and worsening oppression with tiny moments of equality and equity through civil rights and social justice movements;[1] only to have it possibly ripped away.     

            The 2000’s in the US, long after Stonewall, the scapegoating of LGBTQAI for the AIDS epidemic, and the consistency of media tropes that liked to murder gays and lesbians to punish them for their sexuality, non-heterosexual individuals started to be more prominently present in media portrayals and with their sexuality not being their defining characteristic. By 2010, homonormativity was becoming a consistent relationship structure in many media portrayals. Similarly, In the US Court System, cases were heard and laws changed that brought the LGBTQAI community more equity: Lawrence v. Texas in 2003 struct down sodomy laws (of which 29 states and 5 territories at the time had already repealed their laws), 2011 saw the repeal of the “Don’t Ask Don’t Tell” policy for non-heterosexuals in the military, in 2015, with Obergfell v Hodges, the Supreme Court ruled that states must license and recognize same sex marriage in the entire country by ruling that Section three of the Defense of Marriage Act was considered unconstitutional. The most recent civil rights decision by the Supreme Court for the LGBTQAI community came in 2020 with Bostock v. Clayton where the court held that Title VII of the Civil Rights Act of 1964, which protects people from workplace discrimination, applied to sexual orientation and gender identity.

            In France at the time, gay marriage was legal, same sex adoption was possible, and lesbians had access to reproductive technology. The country had relatively strong discrimination protections, school support, and hate crime legislation. However, since 2018, there has been a rise in attacks and rhetoric against Trans individuals.  Similarly, just as Titane was entering the festival circuit, the newest version of The Equity Act was introduced to US Congress. This bill had the intention of prohibiting discrimination based on sex, gender identity and sexual orientation. The bill passed the House by a narrow margin and went to the Senate; but could not overcome the filibuster. This loss then became a Harbinger of policies and ordinances that have sprouted up to put a strangle hold onto the equity by orientation. In the US, 79 measures and bills were introduced in 2021 alone that restricted or revoked Trans rights or access to trans care; including medical care and a ban on sports participation.

This culminated at the beginning of 2025 when the second Trump administration handed down executive orders that were exclusively transphobic.

On January 20, 2025, Upon returning to office, Donald Trump labeled Trans people “Gender Identity Extremism” and therefore Determined:

·         “Sex” shall refer to an immutable biological classification as either male or female all people should be classified through that lens

·         The term sex should be used in place of gender

·         Gender identity is a falsehood and disconnected from reality

·         Ended federal funding for any K-12 schools that promotes “gender ideology” (loosely defined)

·         Defunding and removal of Diversity Equity and Inclusion Courses

·         Denying access to Transition medication and Procedures  

            This cultural shift of Anti-LGBTQAI rhetoric and policies has begun to cascade over the shores of each country. Both Argentina and Hungry have followed the United States lead in becoming more conservative; banning femicide, blaming feminism, banning Pride, and using facial recognition software to round up those that attended. According to Brechenmacher (2025), this is a part of a new global wave of ANTI-LGBTQAI policies. But unlike previous movements, this new heteronormative resistance is organized and transnational. Social media and the internet allow for the mobilization and unification of desperate and fringe groups, amplifying alienated attitudes and minority opinions. Still, the Pew Research Center shows that over the last few decades, attitudes and behaviors have become more exclusive for trans people. Since 2022, more inclusive attitudes have soured into alignment with the policies that Donald Trump has enacted when he took office for his second term.

Brechenmacher (2025) states:

 “[These] new oppositional movements treat gender equality, feminism, and LGBTQ rights as existential threats to cultural and national integrity linked to globalization, Western liberalism, and the erosion of traditional authority. This shared worldview allows diverse actors—from right-wing populists in Europe to nationalist autocrats in Russia and China to conservative religious groups in Latin America and Africa—to coalesce around a common enemy. (3)”

Like many backlashes to progressive social movements, much of the resistance to these progressive policies is a resistance to change and the acquisition of power by women and non-heterosexual groups.

 In the US, the reasoning is twofold: Firstly, a lot of these conservative [read as narrow minded] beliefs do not have the strength of personal convictions. The only way that their policies can exist is if there is no opposition. They crumble at the first sight of criticism. Sure, they may deflect, produce scapegoats and be in denial, but the sanctity of their ideology cannot exist in a multicultural system that accepts and allows the fruition of equity and equality for all. The happiness, wellness and success of the LGBTQAI +community is abhorrent to the acutely religious conservatives that derive a sense of self from their God’s wrathful righteousness against those that He’d deem wicked. And, if the LGBTQAI+ community is allowed to be happy, healthy, successful and prosperous, that challenges their worldview and their religious identity to the core. This challenge is so visceral that they feel personally insulted by it. Therefore, the dehumanization of nonbinary, trans and everyone else on the gender and sexuality spectrum becomes a moral crusade. Conservatives often obfuscate their intentions by publicly stating that they are protecting children or girls.[2] Secondarily, considering that the gay hook-up app “Grindr” crashed due to overuse in Milwaukee during the Republican National Convention giving credence to the notion that many Religious conservative republicans are gay, but are closeted, illuminates their ire for the LGBTQAI+ community even further. Under this framing, the openness and joy with which non closeted members of the gender and sexuality spectrum live their lives as fully themselves, fosters a sense of resentment in the closeted conservative Christians. They are angry that they feel they cannot be as free as them. Thus, it’s the religious and sexual fragility of (typically) conservative Christian men which motivates anti-trans policies and the eradication of anything that isn’t within the gender binary.    

 


SOCIAL ANALYSIS     

            As a self-identified Feminist, most of Ducournau’s work intertwines themes of gender, sexuality, and representation. In Titane she cloaks those themes in the embodiment of a character that is difficult to empathize with. Without a sympathetic protagonist, it is difficult for the audience to invest in that character’s story. Thus, as Ducournau emphasizes a lot of feminist and gender related concepts presented through characters that audiences aren’t invested in, it causes those gender and feminist ideologies to be misinterpreted as the source of the character’s toxic traits (Bogutskaya 2023). By delivering these gendered themes in an unlikable package, Ducournau stretches the audience’s cinematic latitude of acceptance, challenging them not to project positive personality traits onto characters that embrace, embody, or express socio-political ideologies that they might agree with, while simultaneously punishing those characters for their rejection of patriarchal structure.




            The gendering and punishment of a subversive woman  

            The basic gender socialization of girls and women into a white heterosexist capitalist ableist patriarchy of the United States revolves around the value of their body and its importance to men [collectively, structurally]. The bifurcated message that girls learn, and women often internalize, is that they need to be an object of male sexual adulation and a vessel for the next generation through the process of reproduction. Succinctly, it is important for girls and women to perform duties we have associated with being a wife and mother in this misogynistic patriarchy.

Historically, these messages have shifted slightly. Our misogynistic culture has had to get creative to make sure that it consistently continues to produce women who will be support staff for men. Initially, we framed sex and sexuality through the lens of morality. Men were the only ones with the moral fortitude to engage in conversations of sex or be able to look at pornography without corruption. Meanwhile, any female interest in the subject and she was brandished a harlot. These are part of the sexual scripts of the patriarchy to limit female sexual agency and maintain a sense of control. “Good girls” were innocent, pure, virginal; while “bad girls” were the ones who were interested in sex or engaged in any kind of sexual behavior. Firstly, the paternalistic infantilism that was/is used when referring to women speaks to this overbearing misogyny that permeates the culture. Secondly, this Madonna/whore complex became the framing of women’s caged sexuality for generations, only to be unearthed by the Second wave Feminist movement’s push for contraception and the promotion of guilt free sex for women. The patriarchy had to pivot. The Madonna/Whore messaging changed from being either/or, to both. Essentially, girls and women need to exude both innocence and oversexed debauchery simultaneously, the only delineation being between public vs. private spaces. To the front facing public, women are to be the innocent, obedient moralist. But in private, they are encouraged to be sexually adventurous. To use a descriptive popular parlance: “A lady in the streets, but a freak in the sheets.” Granted, there may be a subculture or two (based in specific religious interpretations) that still engage in the Madonna/whore script in the traditional way: creating “purity tests” and making fathers be the gatekeepers of their daughters’ virginity, objectively giving it to a man he sees as worthy on their wedding day (Valenti 2009). But it is the amalgamated redux of the system that is currently the most prevalent gatekeeper of women’s sexuality.

Whether women are either supposed to be innocent completely, or only in the presence of others to project patriarchal passivity, it is still control through the lack of female agency. Women in either the original or “New Coke” version of the Madonna/whore complex are still engaging in sex for the purpose and pleasure of men. Sex, especially in the patriarchy is framed as a masculine event. This contributes to the orgasm gap between cisgendered men and women and frames women’s sexuality as relational and performative (Harvey, Jones and Copulsky 2023). This is the misogynistic framing of women’s sexuality as emotional labor for men, which women are compensated for through the power and autonomy they glean from their patriarchal bargain.

Women who perform these “wifely duties” of lover, then mother, can extract the illusion of agency, autonomy and independence they desire. This is what I deem as “Have-it-all Sexism.”

 As I explain in a previous essay from 2013:

"Have it all" Sexism is a term that refers to a new type of sexist female representation in the media that requires female characters that are shown to have careers (with varying degrees of power, agency and autonomy), or who are being portrayed as physically strong (or strong willed), must also identify (or in some cases learn to identify) with traditional female gender norms and scripts.  The message is that it is OK for girls to have agency and social power in our society so long as they don't forget that they also must be wives and mothers (i.e. sex objects and reproductive vessels.) This maintains the value of women to be in their body, and their representation as full and complete human beings is a distant second.”

In a misogynistic patriarchy, the only acceptable way to achieve independence and identity outside of the gendered roles women have been shackled to, is to fulfill those roles first and if there is any time, money, energy and effort left, then women can have a personality. A woman’s individuality and uniqueness is an ancillary addition that is not a part of their systemic patriarchal function. Any portrayal outside of this is summarily punished.

            Entertainment media is one mechanism by which women are both presented and policed. Socialized gender messages are taught and the consequences of not following or rejecting those messages are illustrated through a variety of stories. Here, the Madonna/whore binary (both original recipe and “extra misogyny”) is used as both paragon and criteria for punishment against those who resist.  According to Anna Bogutskaya (2023) this misogyny limits female representation, framing any character that isn’t promoting the patriarchy as “unlikeable”. They may be painted as too angry, too direct, too mean, too sexual, too disorganized, too unhinged, too aloof, or just too odd. These criticisms of character traits are then slyly and erroneously connected to left-leaning political ideologies and notions of liberation to reinforce patriarchal dominance.  Characters that spout clear feminist rhetoric about agency and equal treatment are deemed “crazy”.

““Crazy” is often the default insult for women who exist in ways that upset the status quo; women who have been hurt, women who are tired and overwhelmed, and women who suffer from any form of mental illness are lumped into this one big bag of “crazy””(Bogutskava 2023: 226). 

These portrayals are commodifications of women by the patriarchy to sell to men as:

·         Cautionary tales to create and maintain the heterosexist family unit fidelity  

·         Sexually desirable; a respite from the masculinely insecure emotional vacuum the Patriarchy traps men in.

·         A project they can fix.

Because the politics and ideals of feminism are patriarchally misinterpreted through the lens of unlikability, women’s independence, autonomy and individuality are perceived as a threat. Therefore, there is this misogynistic motivation in fiction and reality to take a single, successful, career-focused independent women and shackle them to the gender roles assigned to them as a form of punishment. (Bates 2020). While there have been several celebrities that this can be applied to; in fiction, this punishment is illustrated through a series of pregnancy tropes.  

 



            There are several media tropes that revolve around pregnancy, and all of them are designed to punish women. The most common trope is the mystical pregnancy. This is where a female character is either supernaturally inseminated by gods, spirits, or other mystical beings, or conceives naturally only to find that the pregnancy is otherworldly. Often this pregnancy is used as punishment for women’s transgressive independence. But through their loss of agency and experiencing the terror and humiliation of this natural body horror, their behavior can be corrected.[3]  In Titane, Alexia is an unlikeable character and therefore she gets punished with a mystical pregnancy that eventually kills her.

            The audience first meets Alexia (Agathe Rousselle) when she is a child, just before she is in a car accident with her father. It is heavily implied, though never stated, that the injuries that she sustained in the wreck motivated her psychopathy. When we meet up with her as an adult after the title sequence, we bear witness to her performative sexuality and a penchant for murder (the news reports indicating that she is a serial killer). These traits seemingly would place Alexia into the classical trope of “The Psycho” (Bogutskava 2023). Her violence is not generated by revenge or retribution for an assault (sexual or otherwise) and there is no inherent empathy we are supposed to have for the character. She is also charming, intelligent and easily offended (all traits of psychosis). According to Bogutskava (2023) this offense has a polymorphic trigger that is different for each media “Psycho”. For Hannibal Lecter it was rudeness. For Amy Dunne it was mediocrity. For Alexia, it is her vulnerability. Anytime that she feels like she gets close to any real emotion, she lashes out. Yet, the violence she commits is not without explanation. It can easily be traced back to the trauma of the car accident and the titanium plate in her head that is overly sensitive, and the source of her emotional detachment. So, it is difficult to say if Alexia fits Bogutskava’s (2023) trope of “The Psycho” completely, as she does not seem to fit all the criteria while embodying the impulsive messiness of the caricature. Still, Ducournau can’t help but punish Alexia with a mystical pregnancy, brought on by the mechaphilia Alexia developed after the accident.   

            Mechaphilia is an intense sexual arousal or attraction to machines. Alexia’s particular fixation is on cars. Therefore, the source of the mystical pregnancy punishment trope is her sex with a car.  In an elegantly lit, cinematically graceful, albeit protracted sequence; the audience witnesses a naked Alexia get inside a Cadillac and proceed to have sex with the car. It should be noted that Alexia, even though she freely enters the car, is a passive participant in the sexual encounter; wrapping the seat belts around her forearms as the car uses its hydraulics to create the motion of penetrative sex. Thankfully, we are spared any actual pornographic images of mechaphilic penetration, though Ducournau makes sure that we see the consequences of the act (bruising on Alexia’s thighs and a motor oil like secretion from her vagina that simulates car semen). This is the first level of punishment.

 Sexual humiliation of women is a popular form of mainstream pornography that depicts women being punched, slapped, spanked, made to cry, gag and brutalized through violent and extreme penetration; usually coupled with humiliating language designed to dehumanize and “other” the female participants (Lust 2010, Bates 2020). While there is legitimacy in a humiliation kink, the kind of humiliation described above is not about and does not involve consent nor depicting equal power for the pleasure of all parties. Instead, it is a way for men to re-establish dominance through the violent sexual humiliation of women, a toxically masculine reformation of male identity. In Titane, that toxic masculinity is represented by the Cadillac, and the ensuing violence brought upon Alexia through the sexual act is her penance for existing outside of the bounds of societal gender roles.

 The second punishment is the mystical pregnancy itself. Ducournau revels in depicting the “womb horror” castigation of pregnancy.  Given the mechaphillic conception, it is quickly apparent that Alexia is carrying a half human hybrid. The camera seems to revel in Alexia’s pain as it fixates on her transforming body: the growth of her titanium womb, the tearing of her skin, her lactation of oil and the agony she goes through trying to hide it from others. At the end of the film, Alexia is absolved for all of her “unlikeable” anti-masculine transgressions by succumbing to a violent death while giving birth; making sure that the final emotion she felt before death was an unending void of fear. Through this lens, by using such tropes, regardless of her intention, Ducournau contributes to the misogyny of patriarchy through the punishment of women that fail to follow or contribute to traditional societal gender norms.



   

       The Humiliation of Aging Masculinity

The first act of violence that patriarchy demands of males is not violence towards women. Instead, patriarchy demands of all males that they engage in acts of psychic self-mutilation., that they kill off the emotional parts of themselves (bell hooks 2004: 66)

            As girls and women are socialized to be wives and mothers, boys are socialized to be providers and protectors. They are socialized as rational, stoically emotionless and singularly focused beings. This masculinity is extremely fragile. A mannerism, improper word choice or drink selection, and the masculine gender identity built on sexual objectification of women, violence and emotional and physical durability, crumbles to dust. Its form and reformation need to be established within every social situation. Therefore, men are effectively chasing after masculinity, their own form of patriarchal cage unique to men (Walker 2020)[4]. Much of this masculinity is wrapped up in validation and valorizing of youthfulness. The desirable traits of masculinity are always framed through the lens of those in the symbolic springtime of age. Rarely do we get an image of aged masculinity that isn’t a preternatural, Uber masculine hyperbole of the already established traits of strength and power. We do not get an acceptable form of aged masculinity that isn’t melancholically pining for their lost virility, either in strength or sexual prowess. Aging for men, then becomes its own form of humiliation. The slow desiccation of abilities and mental acuity until their value and worth is atomized.

            Ducournau epitomizes the relationship between age and masculinity through Vincent’s narrative journey. An aging firefighter, Vincent struggles with his weaning strength and compounding PTSD brought on by decades of combating fire, and the grief over his lost son. His fear and loss of identity results in him becoming overbearingly authoritarian with other firefighters under his command (comparing himself to God and Adrian/Alexia as Jesus) and contributes to developing an addiction to steroids. Throughout the film, Vincent’s physical and emotional shortcomings are laid bare. It is through these failures that we understand and recognize why he is willing to actively delude himself into believing that Alexia is his long-lost son Adrien. With the loss of his perceived masculinity, and his failure to get it back through synthetic means, the only way for him to reclaim any semblance of masculinity is by holding onto his ability to be a protective father. Therefore, regardless of Alexia’s identity, the lie allows him to piece together the bits of his former masculinity that have withered away by age and inability. This is why he both lashes out whenever that lie is questioned, culminating in his line to Alexia: “I do not care who you are. To me, you will always be my son.” At the end of the film, that paternalistic purpose is refocused and realized as he commits to the protection of Alexia’s hybrid baby; by simply stating “I’m here.”      

 




            A Trans story of acceptance or a Symbolically anti-trans narrative?

            “Horror is a genre that encapsulated a lot of social anxieties. A lot of the things that we as a society are stressed about or uncertain about or titillated and tantalized by the transgressiveness of. Sexuality and gender nonconformity are common themes in horror. What are the images we are producing of these communities and what stereotypes are we using?” (Dr. Jaime Hartless on “Episode 18: Queer Representations of Horror” of The Sociologist’s Dojo Podcast  

 

            Horror has always been a bifurcated place for the LGBTQAI+ community. It has reproduced harmful stereotypes and subverted them, reinforced violence against the marginalized group and provided thoughtful critiques about the harm it causes. Horror has perpetuated and subverted all expectations. “Positive portrayals coexist with more potentially regressive ones that continue to associate queerness with evil.” (Hartless 2021: 5). Trans people especially have been underrepresented in horror and are often misrepresented when they are. From Sleepaway Camp, Psycho and Dress to Kill, to The Crying Game and The Silence of the Lambs trans people have historically portrayed the villain; but more nefariously, their villainous motivations were often framed as being derived from their gender and sexual “otherness”. However, as we have taken the slowest of baby steps toward a culture of trans acceptance (from which our current administration is taking strides away from), recently, more positive trans visibility has been seen. Even in the horror genre, there are several trans actors that are redefining their presence in the Horror landscape onscreen. Thus, as horror seems to have a history of being an exploitative carnival where cisgendered people can gawk, laugh and be terrified of the existence of those outside the binary, simultaneously, it has been at the forefront of trans representation, the conventions of the horror genre allowing for gender bending and boundary breaking behavior that can culminate into acceptance.




            A lot has been written about Titane as a trans narrative that swings the pendulum between  elation and revulsion. The film has been heralded by some as a wonderful transmasc love story of acceptance that provides a hopeful allegory for those still terrified to come out to their parents. While those more critical of the film see the inclusion of the trans identity as a plot device, the protagonist using gender deceit as a cover to avoid accountability. The copout is to say that this is a perfect example of why art is subjective; that it can mean anything to everyone, even the opposite. Yet sociologically it can be understood that two things can exist at the same time. These conflicting pro/Anti trans ideas run parallel with each other throughout the film. Ducournau gives just enough to allow for a dual reading of the film that both meets and subverts expectations. There are linear through lines that audience members can follow that will present a person coming into their own sense of self through a transmasc transformation from which the character finds unconditional love and acceptance for the first time. Conversely, there is also a complete throughline of a serial killer who is using a trans narrative as a method of escape and their frustration with having to hide their identity. However, there is also considerable evidence that suggests that Ducournau, understanding the way that the film could be interpreted, decided to first present the Trans identity as false, only becoming real through the love and acceptance Vincint gives to Alexia. In this sense, Alexia can’t fully embrace and accept their identity as Adrien until they felt safe to do so. Vincint gave them that space. The new identity is solidified when Adrien calls Vincint “Papa”. While this is undercut during the birthing scene where Adrien deadnames himself and re-identifies as Alexia, it still points to the social construction of sexuality and the gender fluidity of sexuality on screen.       

           


            The Redeeming Power of Unconditional Love

            Through the process of traditional, binary focused gender socialization, love is an emotion that is taught to be embraced by girls and women and barred by boys and men. Boys and men are taught to relinquish their love at adulthood and to calcify their emotional selves. Girls and women are taught to embrace love, as both their primary criteria when searching for a partner, and the abundant emotional commodity they sell through relationships. This again, is the way that a heterosexist capitalist patriarchy conditions cisgendered men and women into gender specific servitude; with neither being satisfied.     

            Within a general social order, love and affection are valorized through domestication. Sexuality gets refined into sublimation of love and the social order constructs it as only acceptable in private spaces, relegating and controlling sexual expression and legitimating it through love (Marcuse 1966). This focus on love is then translated to labor, and we then learn to love and enjoy work (often time as a representation of our identity) which helps to maintain social institutions and the order of a civilization (Marcuse 1966). Love then, especially for men, is weaponized and used to shore up the economy. Men start to see love as a type of satisfaction from work and the economic success that comes with it. bell hooks (2001) recognizes this as greed, a lust for money. This lust for money overtakes the love of others, as we are willing to put our lives in precarious positions, even those that are life threatening, for money. We cannot even escape the love of money when we seek love through partnerships. Capitalism has permeated every aspect of our culture, and so, when we are looking for companionship, we often view it through a capitalistic lens.

            According to hooks (2001)

        “When it comes to matters of the heart, we are encouraged to treat partners as though they are objects we can pick up, use, and then discard and depose of at will…When greedy consumption is the order of the day, dehumanization becomes acceptable” (p:115)

 

            After the accident, Alexia, through the function of her trauma, brain damage or both, looks at relationships as transactional. Faced with new experiences, she is unclear of how to act or how she is to respond. She does not know what she likes or what she wants. This lack of understanding of her body and her own desires causes her to lash out violently rather than deal with any kind of emotional complexity. Each sexual encounter is followed by violent murder. Yet, as she alters her identity to escape, she faces Vincent who gives her unconditional love and support regardless of her behavior. This is anathematic to Alexia’s transactional understanding, and she lashes out. Afterword, Vincent is still there, with comfort, stern safety, and sometimes tough love.

            When asked in interviews about the core message of the film, Ducournau consistently stated that it was unconditional love. The love between two broken people that heals them. Indeed, love has the power to change everything. The way that we see the past and live with it in a new way (hooks 2001). Alexia and Vincent find in each other a healing communion of love. Alexia finds the love and acceptance she has never experienced. Vincent finds a chance to end his heartache and fulfill his paternalistic drive. First to Alexia in the persona of Adrien, and then to her baby.  All they needed to receive was love, and that is the only thing Vincent had left to give.


 


CONCLUSION

            Julia Ducournau’s second film is not for the faint of heart, though heart it does have, deep in its viscera. Behind all of the serial killing mechaphillic feminine punishing, and possibly transphobic muddled messages, beats a story about acceptance and compassion. While all the themes that it presents aren’t equally fleshed out or serviced in equal measure, the amalgamated space of body and horror in which it lives allows the film to run on vibes, fuel and chrome. Thereby complicating our relationship with gender, ourselves and each other.   

 

RFERENCES

Bates, Laura 2020. Men Who Hate Women: From Incels to Pickup Artists: The Truth about Extreme Misogyny and How It Affects US All. Naperville. Source Books

Ben-Hadj, Emmanuelle 2021. “Making Room for Horror: The Adversity of Genre in the French Film Industry” PhD dissertation Deitrich School of Arts and Sciences University of Pittsburgh. https://d-scholarship.pitt.edu/41404/32/41404.pdf

Brechenmacher, Saskia 2025. “The New Global Struggle Over Gender, Rights, and Family Values” in the Democracy, Conflict and Governance Program at The Carnegie Endowment for International Peace Retrieved on 10/28/2025 Retrieved at https://carnegieendowment.org/research/2025/06/the-new-global-struggle-over-gender-rights-and-family-values?lang=en

Brutlag, Brian 2013. “Gender Representation in Disney’s ‘Frozen’ and Hollywood’s “girl” problem.” In The Sociologist’s Dojo  Retrieved on 11/1/2025 Retrieved at  https://thesociologistsdojo.blogspot.com/2013/12/gender-representation-in-disneys-frozen.html

___________ 2022. “Episode 18: Queer Representations of Horror with Dr. Jaime Hartless.” In The Sociologist’s Dojo Podcast Retrieved on 11/1/2025 Retrieved at: https://thesociologistsdojo.libsyn.com/episode-18-queer-representations-in-horror-with-dr-jaime-hartless

Bogutskaya, Anna 2023. Unlikable Female Characters: The women pop culture wants you to hate New York: Source Books.

Emanuelle Ben Hadj 2021. “Making Room for Horror: The Adversity of Genre in the French Film Industry” PhD dissertation. Detrich School of Arts and Sciences University of Pittsburgh Pennsylvania

Hartless, Jaime 2021.”Horror as a Pedagogical Tool for Teaching Sexualities” in Teaching Sociology pp 1-12 American Sociological Association.

Harvey, Penny, Erielle Jones and Daniel Copulsky 2023. “The Relational Nature of Gender, the Pervasiveness of Heteronormative Sexual Scripts, and the Impact on Sexual Pleasure.” In Archives of Sexual Behavior 52(3) pp-1195-1212.

hooks, bell 2000. Feminism is for Everybody Cambridge. South End Press

_________ 2001. All About Love: New Visions  New York: William and Morrow  

_________ 2004. The Will to Change: Men Masculinity and Love  New York: Washington Square Press

Lust, Erika 2010. Good Porn: A Woman’s guide  New York Seal Press

Marcuse, Herbert 1966. Eros and Civilization: A Philosophical Inquiry into Freud  Boston: Beacon Press

Valenti, Jessica 2009. The Purity Myth: How America’s Obsession with Virginity is Hurting Young Women New York: Seal Press   

Walker, Alicia 2020. Chasing Masculinity: Men Validation and Infidelity New York: Palgrave Macmillan



[1] And thanks to the Warren Court- The 8 year Supreme Court make up responsible for the most landmark pieces of legislation

[2] This is double speak because, like mental Illness and Gun Control, these conservative groups only seem to care about girls and children when they are using it to fight against something else.

[3] Meta textually, the misogyny of Joss Whedon can be measured by his use of the mystical pregnancy trope twice on the character of Cordiella Chase  in the Buffy  spin off show Angel twice after Chase’s actor Charisma  Carpenter rejected his sexual advances.

[4] Through the establishment and reinforcement of stoicism at a very young age, boys are emotionally stunted causing arrested development and a reliance on women for their emotion work. Women, particularly sexual partners, then become the primary source of men fulfillment of intimacy. Unfortunately, because sex and intimacy are inextricably linked for men there is a fundamental misunderstanding that takes place. Women being socialized to have an easier accessibility of diverse emotions like empathy and compassion; see them as separate from sexual attraction whereas men do not. Therefore, when women provide emotional support for men based on basic human decency, men misinterpret this as emotional intimacy and a sign of attraction (Walker 2020). This again maintains a reliance of men on women to meet all their emotional needs