Where is the emotionally sensitive art for young men?
The Sisterhood of the Traveling Pants, the 2005 young adult drama film, takes all of five minutes to set up its premise: what if you and your friends discovered the titular pair of jeans, which, despite your differences in size, fit you all perfectly? And, more than that, what if you all decided that these pants had magical behaviour-changing powers?
So far, so teen drama, particularly when the film starts unveiling the emotional canvas the film will play out on. Bridget (Blake Lively) has a crush, and a dead mother; Carmen (America Ferreira) is a child of divorce; Tibby (Amber Tamblyn) is stuck working a dead-end job.
But what is extraordinary about the film is the sensitivity with which it handles what could otherwise be tropes. Each of the heroine’s lives is disrupted by death and loss. They learn they are fallible; that they are subjected to forces they cannot control. They’re not whiny teenagers. They’re young people, making their way through the world – sometimes messily, but always with conviction.
The film is shockingly emotionally nuanced for a work of art made for, and about, teenagers. But what makes it more shocking is how plainly it exposes the absence of similar art for young men. The Sisterhood of The Traveling Pants – and films like it – are a core part of moral education, designed to validate young women in their feelings, both the positive and the negative. So, where is the male equivalent?
Art and moral education
None of this is to say that The Sisterhood of The Traveling Pants need only appeal to young women – the brush with which it paints is broad and vivid enough for those of any gender. But it still remains the case that the film was marketed to, and largely consumed by, young women. It sits alongside Stick It, She’s The Man, Riding In Cars With Boys, and Cinderella Story as part of an early 2000s trend of emotionally adult works directed towards young women. While these are stories are ostensibly about romance, they’re actually about self-discovery and self-possession.
Such films, as philosopher Greta T. Cullen observes, need not necessarily be “morally instructive” – as in, they don’t need to have all the moral answers. Instead, they ignite sympathy. They teach us both about our own world, and the worlds of those around us. As Cullen puts it, they “encourage an awareness of other people, their problems and sufferings.” Through that awareness, we can build a proper moral system – after all, it’s only when we understand how we affect other moral agents that we can decide how to treat them.
That, in fact, is precisely what makes art so important in moral education. The Sisterhood of the Traveling Pants isn’t prescriptive – it doesn’t tell us exactly what we should do. In fact, its heroines make more mistakes than most: Tibby, whose life is changed by a young girl with cancer, initially declines to visit her dying friend in hospital. The film isn’t an instruction guide. Instead, it’s a sort of training ground for sympathy, reminding us of the impact we have on each other – and the seriousness with which we should take that impact. Art, at its best, makes the world bigger. And after it has done that, we get to decide what to do with all that extra space.
The stoic male hero
Art targeted at young men is far less interested in interiority. Consider the likes of Deadpool, Top Gun: Maverick, and The Fast and The Furious films. These works of art are not interested in emotional nuance in the same way as The Sisterhood of the Traveling Pants is, because they’re not centred around emotionally changeable characters. Neither Deadpool nor Dominic Toretto need overcome internal obstacles – only external ones.
Art for young men tends to promote stoicism or, at the very least, inflexible leading men. Leads of young adult films directed at men are primarily unflappable – above all else, they value calm, and decisiveness. They are what Jon Brooks describes as “stoic superheroes”.
That’s not to say such art needs to be entirely dismissed – it has other uses. But the hole in male education around emotions – what we do with them, how they shape us – has profound knock-on effects.
When your heroes don’t validate you in your emotional complexity – in your essential fallibility – your moral life suffers. There is a loneliness to growing up without seeing a complex inner life on the screen. Films should, in some complicated way, forgive us. They should make it clear that we are not alone.
That loneliness is solidified by a further absence in young male cinema – a hole where there should be depictions of non-judgmental, accepting friendships. The “buddy comedy” genre does aim to rectify this gap, but such films are few and far between. The Sisterhood Of The Traveling Pants models genuine connection between its heroes, who are willing to be their true selves around each other. There is no real corollary for men.
There’s a sequence part way through The Sisterhood of the Traveling Pants where Tibby, the teenage shelf-stacker, steps out into the quiet of the afternoon, surrounded by her middle-aged co-workers as they smoke in the sun. She says nothing; they say nothing.
Later, this will become the setting where Tibby learns not just about loss, but also about the hard-won work required to give life meaning. For the moment though, all that happens is that Tibby stands there, the sky orange around her, and takes pause. It’s a moment of true emotional vulnerability – a brief flash of Tibby sitting in her feelings.
And that vulnerability is important. Without that vulnerability, genuine emotional connection is impossible. Which is why the dearth of such moments in art aimed at young men has such worrying implications. Many men struggle with their own vulnerability; struggle to feel authentic, and true. From that comes loneliness. From that comes pain.
There is a hole in male education, and it’s shaped exactly like this film. And, more specifically, a hole shaped like the image of a young woman, standing in the sunshine, staring straight ahead, and then slowly walking offscreen.
Image: Warner Bros. Pictures
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BY Joseph Earp
Joseph Earp is a poet, journalist and philosophy student. He is currently undertaking his PhD at the University of Sydney, studying the work of David Hume.
What are we afraid of? Horror movies and our collective fears
In 1968, the dead walked the Earth. George A. Romero’s The Night of The Living Dead, shot on a shoestring budget in black and white and film stock, was the movie that popularised zombies as we now know them.
In the film, a ragtag group of survivors must band together, as corpses rise from the grave in a desperate search for human flesh.
Night of the Living Dead was a smash hit. It made more than 250 times its budget, becoming a cultural talking point, and scarring an entire generation. Taken on face value, its success is surprising. The film is unremittingly bleak, even for a horror movie – aside from the blood and guts, it also ends with one of cinema’s great downers, as the film’s hero, Ben (Duane Jones), is murdered not by the zombies, but instead an armed posse dispatched to kill the zombies, who confuse him for a reanimated corpse.
Given Ben is African-American, the film’s final image – his dead body set alight, burning to ash on top of a pile of zombie corpses – had powerful, painful symbolism for audiences in the late sixties. It was a time of huge social upheaval; of struggle, pain, and change. America was still in the midst of the Vietnam war, and the Civil Rights movement was continuing to gather steam.
Indeed, that collective social suffering is precisely the means of explaining Night of the Living Dead’s great success. Mired in images of real-life suffering, beamed into their homes via their TV sets, American audiences flocked to see a film that gave a voice to the feeling of the times – its ambient horror. To borrow a quote from horror director Wes Craven, Night of the Living Dead didn’t “create” fear – it released it.
Naming the unnamable
Horror’s persistent success – slashers almost always make money, and are a go-to for indie directors precisely because they’re almost guaranteed to make a financial return – speaks to the genre’s ability to address the unnamed. Each generation has its trauma, and each generation has a horror film that speaks to that trauma.
Alfred Hitchcock’s Psycho, released in 1960, was a reaction to a spate of serial murders – chiefly the killings committed by Ed Gein. Rosemary’s Baby, released the same year as Night of the Living Dead, bottled the collective anxiety that came from modern urbanisation: set in a sprawling apartment block, it posits that you can never truly know your neighbours. Carrie channeled first wave feminism, and the oppression conducted by both men and the church; Clive Barker’s Hellraiser explored queerness and kink, and the violent reaction to it; Hostel and Saw, the forerunners of the “torture porn” movement, were birthed by images of violence released out of Abu Ghraib; and Get Out compressed years of racist oppression into one shocking tale.
In this way, horror films tap into what philosopher and psychologist Carl Jung referred to as the “collective unconsciousness”. Jung believed that we all have both personal unconsciousness, and an unconsciousness shared by all. This deeper, shared unconsciousness is populated by “instincts”, “primal fears”, and “archetypes.” These archetypes directly tie us back to our ancestors – they are as old as human beings are. They are core figures, images, and stories, that, given they are located deep inside us, are frequently “strange” and disturbing. Jung gave these archetypes names, from “eternity” to “the profane”.
Horror draws on these archetypes. In fact, given how common archetypes are – we cannot help, Jung thought, coming back to them – sometimes, these archetypes can be described as “cliches.” Just as the collective unconsciousness keeps returning to specific images and figures, so too does horror have its tropes: the masked murderer; the demon child; the haunted house; the animal that appears as a harbinger of doom.
This is why horror movies tap us in a deep, powerful way. They apply images and stories to things that live deep inside us; that are innate. Indeed, the philosopher William James thought that fear was key to the unconscious – he argued that if you dropped an Eskimo into the African savannah, they would know to be afraid of a lion, even if they had never encountered one before. Whether we like it or not, terror lives somewhere deep inside us; an unavoidable vein of anxiety, running through the human condition. By engaging with that, horror movies hit us on a primal level – and bring us closer to each other.
The release of fear
This releasing quality of horror films has been proven to have personally therapeutic benefits. Horror movies allow us to confront our fears directly; to expose ourselves to them. But more than that, they allow us to do so in a controlled, calm setting.
When we’re terrified by a horror movie, we’re not terrified in the same way we would be if we were literally in the situation outlined. Our brains know, on some level, that we are safe; protected; sitting at home, or in a movie theatre. A recent study showed that horror movies can provide “stress release, managing real-life fears, and gradually reducing the impact of stressors through exposure to danger and fear in a controlled environment.”
But horror movies don’t just help individuals expose themselves to fear. Their hugely beneficial ethical dimension is their ability to help societies to understand their fears.
We cannot solve or change something that we cannot name. Without proper language – without images – we cannot hope to confront the sick or ailing parts of our society. Horror movies funnel collective anxieties into precise ones. And with their image as a kind of vocabulary, we can start talking about these issues, and in that way, move to change them.
Indeed, stories of horror and evil have historically served as a way of forming and reinforcing moral judgement. We tell ourselves stories of what taboos look like when they are broken in order to remind ourselves of the importance of those taboos. Using these narratives, we can come together in order to decide what is permissible and what is not – the shock of anti-social, violent behaviour moving us towards a place of steadfast moral judgement. The horror movie only scares us because it shows us what we shouldn’t do, what we don’t want, what we, collectively, will work to avoid.
This quality of sharing is important. The success of a film like Get Out brought people together. It cut across class, gender and racial divides. In cinemas across the world, people sat in the dark, and discovered that they were afraid of the same thing as the person in the seat next to them. And it is from that base of solidarity – provided by cinematic nightmares, no less – that special things can happen.
Image: Get Out, Universal Pictures
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BY Joseph Earp
Joseph Earp is a poet, journalist and philosophy student. He is currently undertaking his PhD at the University of Sydney, studying the work of David Hume.
Strange bodies and the other: The horror of difference
Love Lies Bleeding, the new film by director Rose Glass, is a simple girl-meets-girl noir story. At least, for about half of its running time.
Set in a nowhere town populated by gun nuts and ne’er-do-wells, it opens with a chance encounter between Lou (Kristen Stewart) and Jackie (Katy O’Brian). The former’s trapped in this dump because she needs to protect her sister, and the latter has sailed in to try and pursue her dreams of becoming a bodybuilding superstar. They shoot each other up with steroids, make food for each other, and fall in love.
They are, from the outset, different. They don’t fit into this place, with its villains and deadbeats. Not just because they are queer – but because they want for more, and desire something bigger than the diners and gun ranges on offer.
Which is the impetus for Love Lies Bleeding’s sudden, mid-film shift. The more Lou and Jackie fall out of step with the town, the more they begin to literally change. Jackie, always strong, starts to become superhumanly so. Her body expands outrageously, until, before the audience has really noticed what is going on, she is a giant, dwarfing the town and its denizens.
In this way, Love Lives Bleeding owes more to the cinematic genre of body horror than it does to the noir trappings it initially flirts with. And more than that, it investigates one of body horror’s key themes – the way that difference can manifest not just in our minds, but on our skin.
The mind and the body, the body and the mind
Body horror as a genre is a continuation of the work of philosopher Baruch Spinoza. For Spinoza, the body and the mind are the same thing – the one substance. They are “numerically identical”, as in, there is no separation whatsoever between them. When you point to the mind, you are also pointing to the body. Indeed, Spinoza was a monist – as in, he believed that all things were made from one singular “entity.” Spinoza called this entity nature; some have called it God.
Importantly, this monism means that for Spinoza, our emotions, thoughts, and desires are inherently embodied. On Spinoza’s view, we are not just a brain, controlling a fleshy automaton of a body. We are in our own skin. Or, more precisely, we are our own skin. Anything that we think or want expresses itself physically, because our brain is inherently physical.
This view tells us interesting things about both body horror cinema, and about otherness. Namely, that if we are ‘other’ – if we step outside the mainstream of sexuality, gender, or ability – then that otherness will manifest ourselves in our body. There is no hiding our difference on this view; no successful way to “pass”, as though we are part of the established norm. Anything that we think and feel will make us physically different, and therefore will be able to be read by others. We will always be a square peg in a round hole, and everybody will always know it.
Love Lies Bleeding takes the most extreme version of this perspective – Jackie’s gigantism is a physical manifestation of her difference that means she can’t fit through doorways, let alone pass as one of the town’s regular citizens. She is other, which means she doesn’t just occupy mental states that run against the mainstream. Her difference changes how she carries herself in the world – and how she is perceived.
The othered body and its power
Body horror films do more than merely diagnose the physical manifestations of otherness, however. They also pass a sort of moral judgment on it. Many entries into the genre don’t see this otherness as something to be avoided, or stripped away. Indeed, they see it as something to be embraced – a source of considerable power.
Take, for instance, Carrie, directed by Brian DePalma, in which a young alienated woman discovers that she has telekinetic powers. Carrie is the subject of relentless bullying – in the opening scene, we see her body shamed for its difference, as she has a period in the communal shower, much to the cruel glee of her schoolmates.
But when she discovers that which makes her different is the same thing which makes her special, she becomes significantly stronger. The film’s bloodbath of an ending, in which Carrie decimates those who have humiliated her, is a strange sort of coronation – Carrie is literally wearing a crown while she murders a roomful of her enemies. She’s stopped trying to fit in. Instead, she has thoroughly, wholeheartedly embraced her otherness.
This is point of view is also backed up in the literature about Spinoza. As many Spinoza scholars have noted, understanding is the key to Spinoza’s project – he believed in the ethical value of the accumulation of knowledge – and because of his monism, this understanding is one centred in the body. “For Spinoza the critical task is to formulate an ethics of knowing, which begins with an understanding that body and mind are two attributes of the same substance,” write Paul Stenner and Steven D. Brown. “Increasing the capacity of the body to both be affected and affect others is the means by which the knowing subject progresses.”
In these body horror films, assimilation with the status quo is impossible – how could Carrie, with her telekinesis, ever be like others? How could Lou, the giant, ever pretend to be different? But more than that, however, assimilation is not even desirable. Instead, these films are a rallying cry to those who do not fit into boxes; to the outcasts. They say, “any changes will be noticeable on your skin, so you cannot hide them.” And they say, “any changes will be noticeable on your skin, so you should not hide them.”
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BY Joseph Earp
Joseph Earp is a poet, journalist and philosophy student. He is currently undertaking his PhD at the University of Sydney, studying the work of David Hume.
Why are people stalking the real life humans behind ‘Baby Reindeer’?
Baby Reindeer, the new Netflix miniseries based on a true story, opens with a simple act of kindness — Donny Dunn (Richard Gadd), a wannabe stand-up comedian, gives a customer a free cup of tea.
“I felt sorry for her,” Donny tells us in voiceover, as Martha (Jessica Gunning) wanders into the pub where he works. It is an action he will soon regret.
The two begin conversing; as they do, Martha becomes increasingly obsessed with the comedian. Simple affection morphs into something obsessive and painful – Martha begins bombarding Donny with texts and emails. Quickly, it becomes clear: Martha is a stalker, and Donny is her victim.
That’s not exactly a new story to be told onscreen. Fatal Attraction, The Hand That Rocks The Cradle, and When A Stranger Calls have all dealt with the significant fear and anxiety that being stalked can create – when you’re the victim of a stalker, you live on a constant knife’s edge, forever expecting the next email, the next escalation. These films capture that tension.
But what Baby Reindeer does additionally is depict – in a surprisingly complex way – the blend of emotions a victim can feel towards their stalker, not all of them strictly negative. And more than that, it explores the difficult histories that can make a stalking victim vulnerable to being harassed in the first place.
Which is why it is fascinating – and troubling – that such a complicated, nuanced show has led some viewers to begin replicating Martha’s behaviour to find the real people behind the story.
The complexity of the stalker/victim relationship
Stalking is, as philosopher Elizabeth Brake notes, composed of actions “which would normally be permissible; indeed, many stalking behaviors are protected liberties.” That makes it a complicated form of ethical wrong, one many stalkers take advantage of. There’s nothing bad about sending an email. There’s not even anything wrong with sending many emails – under specific circumstances. What makes stalking terrifying is the amount of communication, and, often, its intent.
Additionally, some stalkers are themselves dealing with trauma, or have been victims of a serious harm. This is what Baby Reindeer captures – Martha is harming Donny, but she herself has been harmed. More than that, Donny’s traumatic past – he is the victim of sexual assault – makes him open to her affection initially. These are two people who have suffered, and are continuing to suffer. They find each other, amidst the chaos of traumatic flashbacks, and a deep sense of purposelessness.
Perhaps if things were different, they might have become friends. After all, they are not so dissimilar, in some ways: Baby Reindeer ends with Donny finding himself in the exact position Martha was in when he first encountered her, relying on the random kindness of a bartender.
In this way, Baby Reindeer does not condemn Martha. Nor does it condemn Donny, even though they have both made mistakes. Instead, it sees their actions as deeply tied to past harms, a continuation of the cycle of abuse.
And a cycle that some viewers of the show are perpetuating.
Viewer as stalker
Since Baby Reindeer became a smash hit, some viewers have begun attempting to track down the real humans that inspired the show. As The Guardian notes, “online sleuths” (those are the article’s words), believe they’ve found the real-life Martha. But so obsessive and dangerous has been the search, that innocent people have been caught up in the fray – one man was mistakenly believed to be the television writer who assaulted Donny, and received death threats as a result.
But whether or not the “right” targets have been uncovered and attacked, such a response to the show is deeply unethical. Baby Reindeer itself doesn’t want to demonise Martha – so why are some viewers doing that themselves? Baby Reindeer is a cautionary story about letting passion overcome reason, and trying to track down people who don’t want to be tracked down. That stalking is being perpetuated in its name is a deep ethical wrong.
It’s also a common ethical issue in our modern age. Increasingly, online vigilantes – better to call them that than “sleuths” – have come to behave in a way that shows they believe under certain circumstances, normal ethical rules are waved away. Think of the targeted harassment that was directed towards the real people that stans assumed Ariana Grande’s or Taylor Swift’s new records were about. Or Beyonce’s ‘Beyhive’ hounding a women off social media. In all of these cases, the abuse was “justified” in the mind of the perpetrators. They believed an ethical crime had been committed, and so gave themselves free rein to punish right back.
So it goes in the case of Baby Reindeer. Martha wronged Donny; the TV writer assaulted him. In an increasingly punitive, carceral and old-school digital world, viewers are taking it on themselves to dole out their own justice, in order to reset wrongs.
In actual fact, they are not moral arbiters. They are committing a wrong themselves. And it is a wrong that we must call out.
Baby Reindeer urges us to consider human beings as complex – not deserving of punishment, but of understanding, even if we condemn their actions.
We can want someone to be far away from us, given the harms they have committed. But we must attempt to collectively return to a place where retributive justice – so often confused as “activism” – does not cloud our understanding of complexity. After all, as that final scene of Baby Reindeer shows, we could all find ourselves in Martha’s shoes.
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BY Joseph Earp
Joseph Earp is a poet, journalist and philosophy student. He is currently undertaking his PhD at the University of Sydney, studying the work of David Hume.
'The Zone of Interest' and the lengths we'll go to ignore evil
The Zone of Interest is not really a Holocaust film. At least not in the traditional sense.
Unlike Schindler’s List, there are no scenes set in a concentration camp – no footage of gas chambers, or slaughter. And unlike The Pianist, the focus is not on suffering victims. Indeed, the victims are entirely offscreen, only present as a sort of ambient, sometimes audible, force. Our cast of characters here are a German family, living an ordinary life – or as ordinary as a life can be, when the patriarch, Rudolf Höss (Christian Friedel) is the commandant of Auschwitz, which lies just over the family’s garden wall.
The film features no literal violence whatsoever. Occasionally, we glimpse smoke from Auschwitz’s chimneys, cutting through the air; tiny touches, and the only clues that we are literally next door to the camp.
Instead, the genre that The Zone of Interest falls into – and cunningly undermines – is the domestic drama. Strip the Holocaust context out of the film, and you have a fairly humdrum story of a man trying to keep his family and his career together; working to raise his children, and rise up the ranks of his job. Insert that context back in, and the humdrum becomes terrifying.
The result is a film that tackles the question, “How did the Holocaust happen?”. It is interested in the mechanics of the slaughter – how it was enacted, and by whom. The answer lies in Höss. He has, it seems, emptied his work of all emotional context. It’s just a job to him. There are only very rare points where we see him express something like remorse – and even then, such outbursts feel uncontrolled; unconscious. In that way, The Zone of Interest has much to tell us not just about the Holocaust, but about moral responsibility, and the lengths people can go to avoid it.
Empathy and obligation
Höss has become so inured to his work – so horrifyingly, disturbingly used to it – that he acts like it has no moral quality at all. He seems to have no feelings, no empathy, and more than that, no knowledge that he even should have empathy.
This dispassionate quality is a common basis of those who avoid moral responsibility. When we do not emotionally feel the pain of others, through empathy, we will not have any motivation to avoid inflicting that pain. This is the heart of moral sentimentalism. If we are emotionally blind to suffering – even if we are aware that it is happening – we will not be compelled to act to stop it. Simply put, without emotions and empathy, our moral obligations lose their force.
Indeed, Höss’s lack of moral emotions makes him the successful endpoint of the Nazi propaganda machine. This machine worked hard to try and target the emotions of Nazi guards, and in the process neuter natural sympathetic responses. Most notably, Nazi propaganda dehumanised the Jewish population, painting Jews as fundamentally different from human beings. The comics writer Art Spiegelman attributes the following quote to Hitler, which sums up the position: “The Jews are undoubtedly a race, but they are not human.”
In this way, Nazi propaganda worked on “perceived similarity.” See, psychological studies suggest that empathy fires when we witness something that feels similar to our own experiences. We have to recognise the pain of others as meaningfully like our own in order to be sympathetic to it. This is why we don’t like seeing animals like dogs in pain – we anthropomorphise them, and see their suffering as “human”. It is also while most of us will not flinch at the torment of a bug. We think of dogs as like us, and bugs as not. The outward signs of a daddy longlegs in distress seem alien enough to us – different enough from our own – that our natural empathy is not triggered.
For Nazis like Höss, Jewish people were perceived as so alien – so dissimilar from other human beings – that the suffering of Jewish people came with no associated moral obligation. This is what we see in The Zone of Interest. Höss knows he is sending Jewish people to their deaths – how could he not? It is happening right next door – but he feels nothing about this murder. Höss is not maintaining a literal distance from the horror he is enacting, but he is maintaining an emotional distance, and this is what allows him to do what he does.
A reminder of what we share
This focus on emotional distance is what makes The Zone of Interest so timely – what expands its reach beyond the Holocaust.
We are all occasionally guilty of seeing those who suffer as being “different from us”; their pain as alien, or foreign. Those in warzones; refugees; victims of famine in the Third World – we can all see these people as being divorced from our regular life, emotionally different from us, and as a result, we can unconsciously discharge our obligation to them.
The antidote to this disaffection – to the emotional coolness that can stop us from helping when we need to – is reminding ourselves of what we share with others. It is about tapping into our essential humanity. The philosopher David Hume put this essential humanity simply – he believed as human beings, we all have an aversion to pain, and an attraction to pleasure. If we remember that, and keep in mind that all human beings want to live pain-free lives, then we will see the suffering of others as a great transgression, and will work harder to help when we can.
Indeed, this is the strange optimism buried at the heart of The Zone of Interest. The film suggests, very subtly, that we have a natural connection to those around us; that this shared wellspring of humanity can never be entirely vanquished.
Even Höss, who has worked so hard to completely distance himself from the suffering he is directly inflicting, is unable to escape his natural sense of empathy – in a key moment of the film, he has a kind of physical breakdown, suddenly overcome by all that he has tried not to see. There, in that scene, is buried a form of hope: even against all odds, sometimes, human connection survives. Because human feeling survives. And that is where our moral responsibility lives.
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BY Joseph Earp
Joseph Earp is a poet, journalist and philosophy student. He is currently undertaking his PhD at the University of Sydney, studying the work of David Hume.
What does love look like? The genocidal “romance” of Killers of the Flower Moon
Killers of the Flower Moon, the newest film by Martin Scorsese, starts with a terrible, distorted version of the romantic “meet-cute.”
Ernest Burkhart (played with leery relish by Leonardo DiCaprio) romances Molly Kyle (Lily Gladstone). He’s a driver; she needs to get around the place. Throwing knowing looks over his shoulder as he spins his wheel, he flirts with her, and though she is initially suspicious, eventually she succumbs to his interests. A romance is born.
It is the classic “boy meets girl” story – or at least, it would be, if we didn’t already know the real reason driving Ernest’s romantic designs. He has been put up to this meeting by “King” Hale (Robert DeNiro), his calculating and murderous Uncle, who is seeking to redirect the fortunes of the Osage tribe of which Molly is a member. Though he projects an image as a pillar of the community, King is the centre of a string of murders – and Ernest is recruited as his budding killer-to-be, with Molly as a target.
The tension at the heart of Killers of the Flower Moon lies in Ernest’s dual role as Molly’s wife and her poisoner. Though Ernest is the film’s main character, we are given little in the way of his interior life. Instead, we understand the man through his actions, which are, increasingly, in direct conflict. Ernest acts like he loves Molly, and the children they have together; he weeps when one dies. He also injects her daily with a poison. When, in the film’s climax, the pair are reunited, he almost collapses into her arms. Nobody outright asks Ernest if he loves Molly, but they ask similar questions, and he responds in the full-throated affirmative. She is his wife, and at least some of the time, he treats her as such.
So, do we want to accept this kind of attachment – murderous, openly destructive – as a form of love? Or would doing so fundamentally taint the concept?
Love as a blinding force
The ethical value of love has long been debated by philosophers. Plato and Socrates both saw love as a fundamentally morally valuable emotion – one which expands our sense of the world’s beauty and possibility, and motivates us to do better. Indeed, according to this view of love, romance is the foundation of ethical action.
It’s a way of teaching us of the importance of other people, an escape from selfish solipsism that draws out into the world.
But love – as the mere existence of the term “crime of passion” proves – does not always lead us down virtuous paths. Any romance also has the capability of reducing ethical scope, not expanding it. Arthur Schopenhauer, the notorious pessimist, saw love as an essential “illusion” that consumes people utterly. He described it as little more than the desire to procreate, over which the fiction of romance gets written. On this view, love creates a lopsided sense of ethical value, transforming the world down to a single point – the love object. This in turn breeds jealousy; possession; and, Schopenhauer said, frequently madness.
What makes Ernest’s “love” distinct, however, is that he doesn’t seem to experience the usual ethical pitfalls of romance. He’s not jealous of Molly. He doesn’t act as though he wants to possess her – at least not in the normal sense. Nor does he, in the traditional sense, go mad. Instead he acts to destroy her, an essentially self-negating series of actions where the one he prizes the most is also the one he seeks to snuff out.
Love in and of itself
Perhaps ironically, given his reputation as a cold, difficult and abstract philosopher, it is Immanuel Kant who provides the solution to the puzzle of Ernest’s love. Taken as a whole, Kant is paradoxical on the nature of love – he once dismissed it as a “feeling”, and wrote that “a duty to love is an absurdity.”
But, importantly, Kant did believe we should love one another. And more than that, this was a duty to love another “in and of itself.” One of Kant’s key ethical positions is the idea that using another – treating them like a mere “means” – is wrong. Instead, he believed that we should view other people as an “ends”. Kant believed that value did not exist outside human beings – that we create value – and that we should view all others, including those we love, as the source of value in the world. We respect and love others, he thought, because we see them not for what they can do for us, but for what they are; what they value and what they care about.
Ernest does not do this. Both of the ways that he treats Molly – doting on her and poisoning her – are for his own benefit. He has turned her into a mere object, a machine for love and money. She gives him children, and her death will give him riches and success. When he falls into her arms and embraces her, he is embracing not the whole Molly – the full, rich person, a source of value in the world – but only the parts of her that help him.
In this way, Ernest’s broken form of love serves as a warning to the rest of us.
When we say we love someone, we should direct that emotion to all who they are. Not choosing the parts we like, or the parts that service us. But the difficult parts; the awkward parts; the fears and the pains as well as the highs.
A lover’s eyes should always be open, after all.
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BY Joseph Earp
Joseph Earp is a poet, journalist and philosophy student. He is currently undertaking his PhD at the University of Sydney, studying the work of David Hume.
Whose fantasy is it? Diversity, The Little Mermaid and beyond
The original The Little Mermaid, an animated fable about a young woman searching – literally – for her voice, has what may seem like only a loose relationship with reality.
Sure, the film is filled with themes of yearning, the desire for autonomy, and a struggle for independence, all of which still resonate deeply with the lived experience of its target audience of young women. But it’s also populated with a singing fish, a cursed sea witch, and a range of colourful, deeply fantastical supporting characters.
But in our increasingly divided age, fantasy is not a simple proposition anymore. Just look at the culture war that the CGI-saturated remake of The Little Mermaid has been dragged into, with the film facing “backlash” from those who have argued that the casting of a black Ariel (Halle Bailey) represents a break from “reality”. Their argument – that this new Ariel is not the one they grew up with, a premise that rests on the idea that there is a “real” Ariel to be deviated from.
These arguments are, in essence, arguments about the nature of fantasy – about how fantastical these stories are allowed to be. Fantasy authors can do anything. So what should they do?
How much fantasy is allowed?
The Little Mermaid is not the only modern fantasy story that has been plunged into debates around diversity and representation. The characters of Rey and Rose Tico from Disney’s new Star Wars trilogy faced significant backlash for being female, while the series’ black Stormtrooper, Finn, was criticised as breaking the canon. Stormtroopers were clones, went the argument – so how could one of them be black? Indeed, racist backlashes against casting in fantasy have become so commonplace that Moses Ingram, who played the villainous Reva Sevander in the Obi-Wan Kenobi miniseries, started sharing some of the vile messages that she received.
Those responsible for these backlashes tend to argue that the casting of diverse actors “breaks canon”, and disrupts storytelling rules. Some fans will argue that as Stormtroopers are always white in the world of the Star Wars story, they always must be. This was the explanation for the backlash that met the casting of diverse actors in the new Lord of the Rings series, The Rings of Power – Tolkien’s world was white, went the argument, so any story told in that world should be too. Of course, these “fans” do not acknowledge the possibility that the canon of these stories could be racist, and that breaking the canon might be morally necessary. They merely hold to the story as it was written.
This is an argument about fantasy: about how “real” these stories should be. Fantasy authors can do anything, tell any story, infuse their characters with magical explanations that fly in the face of reality. But they do still have to abide but certain rules. No-one would enjoy the world of Hogwarts if J.K. Rowling constantly threw up magical explanations that defied one another to advance the plot. There needs to be some consistency; some “reality”.
Those who cry foul when diverse actors are cast in fantasy do so because they have smuggled a bad ethical argument into one about consistency.
They are making an ethical claim – they do not want to see diverse communities in their art – and pretending it is an aesthetic claim – that they are talking about stories, not about ethics.
In at least some cases, we can assume that this is just a bad faith argument: that these people know in our modern age that they cannot make an openly racist remark, and so scratch around in the world of aesthetics to disguise their bigotry. But even if these people really think that they’re talking about aesthetics, the mistake is to assume that ethics and aesthetics easily pull apart.
Your dreams aren’t divorced from the real world
In her landmark essay The Right To Sex, the philosopher Amia Srinivasan explores the moral weight of aesthetic choices. In her case, she was exploring those who express sexual preference – cis men who desire a certain kind of woman, for instance, with a certain body. But her conclusions are helpful for us here too.
In essence, Srinivasan wants to balance the freedom to choose – people should be able to desire whom they want to desire, and not be forced to change their desires by others – with the idea that some choices are bigoted or small-minded in some way – say, the person who only desires Asian women, or the person who doesn’t desire any Asian women at all.
What Srinivasan encourages is an interest in one’s own desires. She suggests people explore and understand why they want what they want, and to be aware that sometimes those wants can come from bad, unethical places. In essence, Srinivasan made it clear that purely aesthetic choices are actually ethical choices – that things that seem “merely a matter of taste” can actually come from bigotry.
So it goes with fantasy. The fantasy genre is one of dreams; of pure imagination. But that imagination is born from the real-world. And our real-world contains bigotry and hate.
Fantasy writers dream, but they dream in a way that is influenced by morals, preferences, and real-world concerns.
This isn’t just imaginative play. This is play that is responsive to the real world. And as such, ethics should remain a concern. There are people out there who say that they genuinely desire a white Ariel – that seeing a Caucasian mermaid is of tantamount importance to them. What Srinivisan teaches us, is that we do not need to see this desire as emerging from a vacuum. It’s not “just” taste. It’s taste formed from a society that for too long has prioritised white bodies.
It’s like the philosopher Regina Swanson writes.: “[Fantasy] writers bring form to formlessness, creating a narrative that arises from the deep inner places of the mind,” she has put it. “As such, fantasy can reveal our collective hopes, dreams, and nightmares.” Those hopes, dreams, and nightmares aren’t “just” fantasies. They’re meaningfully real.
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BY Joseph Earp
Joseph Earp is a poet, journalist and philosophy student. He is currently undertaking his PhD at the University of Sydney, studying the work of David Hume.
But how do you know? Hijack and the ethics of risk
Hijack, the new Idris Elba-starring miniseries, opens with every airline passenger’s nightmare – a bullet, found in the bathroom of a plane. Within moments, things go from bad to worse.
The ragtag group of heroes, a collection of passengers led by Sam Nelson (Elba), a corporate business negotiator, find themselves in the middle of a hijacking plot, surrounded by criminals, and unable to get help from those down on the ground who, we quickly learn, are ensnared in the plot themselves.
Such a format is not necessarily new – television and film have been littered with stories of hostile airline takeovers, from the big brash action of Air Force One, to the real-world horror of United 93, a tragic retelling of the 9/11 attacks. But what sets Hijack apart is its rapidly escalating sense of dread. Time and time again, Sam and his fellow passengers are faced with impossible decisions, and time and time again, they are foiled. That opening nightmarish feel only deepens – you know those dreams where everything goes wrong; where you are powerless; where the adversaries keep mounting? That’s key to Hijack’s tone, a story of ever-escalating horrors, through which Sam must try to keep himself – and his ethical code – alive.
Indeed, this mounting sense of risk means that Hijack poses an interesting question about ethical deliberation under fire. Sam, who is well-versed in negotiation, but not well-versed in negotiation where the stakes are so high, must repeatedly make rapid-fire decisions. Does he send a text to his wife? Does Sam continue his attempted revolt after he discovers that the hijackers know who his family are, and will kill them if anything goes wrong? Does Sam rush the cockpit? And how responsible will he ethically be if he fails? How much blood is on his hands?
Decision making turned up to 11
The problem of ethical decision-making under fire is essentially the problem of the difference between theory and practice. Sit people down and ask them what the right thing to do is, give them time, don’t hurry them, and psychological studies show that they’ll have a better chance of choosing the ethical answer.
In a famous experiment known as The Good Samaritan, a group of priests-in-training were told to head across a university campus to deliver a speech on the importance of helping others. Some of these priests were given ample time to make it across the campus; others were told they had to rush. Along their trip, the experimenters planted a person in need – an actor, who feigned being sick, and asked for help. The majority of those priests who had been told they weren’t in a rush stopped to help. But the priests who had to move fast, and were stressed and distracted, largely ignored the actor – even though they were literally on their way to give a speech on how to care for their fellow human beings.
The experiment shows that the more that pressure increases – particularly time pressure – the less likely we are to do the right thing. Which poses a significant problem for ethical training. How can you fight against the forces of a chaotic world?
Philosopher Iris Murdoch was aware of the everyday pressures that we meet constantly. For that reason, she considered ethical training a process which prepares us to act unthinkingly. The more we make the right decisions when we do have time, the more likely we are to shape our instincts to be more ethical, and therefore act virtuously when we don’t have time. In this way, Murdoch collapses theory into practice, treating them not as divorced from one another, but with theory informing practice.
Which is a view that Hijack supports. Sam’s cushy day job has given him an unusual set of skills that he himself didn’t even realise that he had. All that work he conducted for years? It was training for this moment.
The ethics of risk
A related issue pertaining to theory and practice is the unknowability of the future. Thought experiments and ethical dilemmas conducted theoretically can have clear right or wrong answers, based on outcomes. But when we’re actually moving through the world, we’re blind to these outcomes. More often than not, we’re stumbling through the ethical world, making decisions based on the hope that things will work out, but never actually knowing if they will.
This is the ethics of risk, extensively covered by the philosopher Sven Ove Hansson. According to Hansson, “risk and uncertainty are such pervasive features of practical decision-making that it is difficult to find a decision in real life from which they are absent.”
Hansson’s solution to this problem is to consider “fair exchanges of risk.” He forgoes the idea that we will never be perfect moral creatures. Because the world is uncertain, we can only ever move towards good ethical actors. There’s no way that we can ever always do the right thing, and nor should we expect ourselves to. Instead, we must try. That is the important part.
So it goes in Hijack. Sam is a flawed main character, who frequently makes errors while trying to save those around him. But we, as audience members, forgive him for this. We don’t judge him for the plans that fail. We see his movement towards good behaviour, and that’s what matters.
In that way, we can also see theory and practice moved out of contention with each other. Theory is the goal; practice is the action. We’ll never live in a fully theoretic state. But what Hijack tells us, is in the face of that impossibility, we should not throw up our hands. We should instead keep moving towards theory – a spot on the horizon that is forever escaping us, but that we never stop chasing.
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BY Joseph Earp
Joseph Earp is a poet, journalist and philosophy student. He is currently undertaking his PhD at the University of Sydney, studying the work of David Hume.
The Bear and what it means to keep going when you lose it all
Fittingly, for a show set in the brutal, immediate environment of a commercial kitchen, The Bear opens with a brutal, immediate metaphor for grief.
In the opening scene of the show, Carmy (Jeremy Allen White) traverses a bridge in the middle of the night. We know nothing of this man yet. He moves fearfully, slowly. And in a moment, we see why – there’s a vicious bear across from him, reared up and snarling, and Carmy is desperately, fearfully trying to placate it.
Within an episode, the symbolism is obvious. The bridge represents what we will soon come to see as an uncomfortable, dangerous transition Carmy has been thrust into – he has left behind a world of chef superstardom, in order to take over ownership of the middling sandwich shop left to him after the suicide of his brother. And the bear? It is the manifestation of the grief he has been left with; this terrible, unpredictable thing, that he has no idea how to confront, or how to contain.
On its surface, The Bear is about kitchen life. It nails perfectly the stress; the heat; the ugly mechanics of what goes into our food. Anthony Bourdain was right – when you eat out, and get served a dish on a perfectly clean plate, what you haven’t seen is the often literal blood, sweat, and tears that produces it. The Bear spends its two seasons documenting those bodily fluids in sometimes gratuitous detail.
But as its opening scene establishes, what The Bear is really about is untethering. More specifically, the way that grief untethers – the way it throws us back into a world we thought we knew but is now suddenly unfamiliar to us, as we stand under its hot kitchen lights, naked and afraid.
What grief does to us
Carmy is a man with his own dark past. In flashbacks, we see him abused by kitchen bosses. We learn more about Michael, his dead brother, who struggled with addiction. And, drip by drip, we learn about the family dynamics and pressures that made Michael both who he was, and who he died as, and who Carmy once was.
What we also learn is the way that grief can provide a sort of brutal reset of personhood. When we lose someone close to us – whether it be a family member, as in the case of Carmy, or a lover, or a friend – we speak often of losing something of ourselves too.
This cuts to the beauty of human interaction – something that the philosopher Derek Parfit often wrote about. Love, be it familial, platonic, or romantic, erodes the boundaries between the self and other. Our natural inclination as humans to learn about each other, to take on the cares and emotional states of those close to us, to constantly empathise and put ourselves in other’s shoes, makes us less like distinct individual entities, and more like what the philosopher Anette Baier once called “heirs and successors to those that we care about.”
This is beautiful, yes, but it also makes us deeply vulnerable. It means that death and suicide doesn’t just have the power to remove one human being from the world. It means that death and suicide has the power to remove part of us as well.
The philosopher Bryanna Moore has written about this in her paper ‘The Three Moral Dimensions of Grief.’ Moore understands human beings as relationally defined. She takes a sort of refined, tweak “no self” view of personal identity. On her reading, we are not hermetically sealed entities, with some stable, unchanging identity. We are who we are because of who we love, hate, and spend time with.
So for Moore, grief “reveals something vital about the way in which we relate to ourselves around us.” When Carmy loses Michael, he is forced into what Moore calls “a powerful reassessment and reevaluation of the self’s relation to the world.” This explains in great part why Carmy decides to take on Michael’s restaurant. It’s not just guilt that makes him want to help the brother who he could not help in life. It’s that he now no longer knows who he is. He is fresh and untethered. There is a gap, where Michael once was, but there’s also a gap where Carmy once was.
The moral value of grief
Robert C. Soloman, another philosopher who has written extensively about grief, argues in tandem with Moore that grief’s power to untether us makes it, to some extent, “morally excellent.” Soloman starts with the idea that grief is morally obligatory. As in, if someone we care about dies, and we do not grieve, then we have done something immoral – we have failed in some way. Grief is a necessity; it isn’t just some replacement of the love we once felt towards the departed, it is that love, taking on a new form.
For Soloman, the excellence comes from the way that grief represents an “emotional process.” It’s not just a feeling, a discrete emotional state that comes over us. It’s something that builds, grows and changes. This, we quickly find, is true with Carmy. We see him move constantly through different stages and states of grief, at times anger, at other times remorseful; always on the move, and always finding himself plunged into new emotions.
As to what kind of process grief is, it’s one of reconstruction. When we are untethered by loss, we are then forced to get to work on rebuilding ourselves. Grief heightens and sharpens us, makes us present in activities and choices. Carmy finds himself suddenly lit up by chefing in a way that he has not been before, dealing with the chaos of his new restaurant, but immersed in it, and learning new things about himself as a result.
It’s Moore who points out that rebuilding oneself need not always be positive, or moral. After all, there are many people who respond to traumatic events by becoming a new type of person, but a worse one – meaner, angrier, less forgiving. Grief gives us a blank slate, and it’s up to us what we then build on top of that slate.
The goodness of grief, then, comes from the way that it makes us present; intentional. So often we move through life making choices passively; letting things happen to us. When we are left with nothing, and we must rebuild, every choice becomes heightened – we become aware of them, in a way that we were not before.
Grief can wake us up from a stupor, shake us out of immoral patterns that we did not even realise that we had fallen into.
This, we see, happen with Carmy. Slowly, sure. He makes mistakes. He hurts others. He fails. But he is, after his hard reset, aware. Paradoxically – beautifully – a death has made him, quite to his surprise, suddenly and thrillingly alive. In that way, Michael’s passing wasn’t just a loss. It was, against the odds, a gift. And there is beauty in the way that Carmy takes it in his pale, open hands.
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BY Joseph Earp
Joseph Earp is a poet, journalist and philosophy student. He is currently undertaking his PhD at the University of Sydney, studying the work of David Hume.
What is all this content doing to us?
Three years ago, the eye-wateringly expensive television show See aired. Starring Jason Momoa, the budget for the show tapped out at around a million dollars per episode, a ludicrous amount of money even in today’s age.
As to what See is about – well, that’s not really worth discussing. Because chances are you haven’t seen it, and, in all likelihood, you’re not going to. What matters is that this was a massive piece of content that sank without a single trace. Ten years ago, a product like that would have been a big deal, no matter whether people liked it or not. It would have been, regardless of reception, an event. Instead, it’s one of a laundry list of shows that feel like they simply don’t exist.
This is what it means to be in the world of peak content. Every movie you loved as a kid is being rebooted; every franchise is being restarted; every actor you have even a passing interest in has their own four season long show.
But what is so much content doing to us? And how is it affecting the way we consider art?
The tyranny of choice
If you own a television, chances are you have found yourself parked in front of it, armed with the remote, at a complete loss as to what to watch. Not because your choices are limited. But because they are overwhelmingly large.
This is an example of what is known as “the tyranny of choice.” Many of us might believe that more choice is necessarily better for us. As the philosopher Renata Salecl outlines, if you have the ability to choose from three options, and one of them is taken away, most of us would assume we have been harmed in some way. That we’ve been made less free.
But the social scientists David G. Myers and Robert E. Lane have shown that an increase in choice tends to lead to a decrease in overall happiness. The psychologist Barry Schwartz has explained this through what he understands as our desire to “maximalise” – to get the best out of our decisions.
And yet trying to decide what the best decision will be takes time and effort. If we’re doing that constantly, forever in the process of trying to analyse what will be best for us, we will not only wear ourselves down – we’ll also compare the choice we made against the other potential choices we didn’t take. It’s a kind of agonising “grass is always greener” process, where our decision will always seem to be the lesser of those available.
The sea of content we swim in is therefore work. Choosing what to watch is labour. And we know, in our heart of hearts, that we probably could have chosen better – that there’s so much out there, that we’re bound to have made a mistake, and settled for good when we could have watched great.
The big soup of modern life
When content begins to feel like work, it begins to feel like… well, everything else. So much of our lives are composed of labour, both paid and unpaid. And though art should, in its best formulation, provide transcendent moments – experiences that pull us out of ourselves, and our circumstances – the deluge of content has flattened these moments into more capitalist stew.
Remember how special the release of a Star Wars movie used to feel? Remember the magic of it? Now, we have Star Wars spin-offs dropping every other month, and what was once rare and special is now an ever-decreasing series of diminishing returns. And these diminishing returns are not being made for the love of it – they’re coming from a cynical, money-grubbing place. Because they need to make money, due in no small part to their ballooning budgets, they are less adventurous, rehashing past story beats rather than coming up with new ones; playing fan service, instead of challenging audiences. After all, it’s called show business for a reason, and mass entertainment is profit-driven above all else, no matter how much it might enrich our lives.
This kind of nullifying sameness of content, made by capitalism, was first outlined by the philosophers Theodor Adorno and Max Horkheimer. “Culture now impresses the same stamp on everything,” they wrote in Dialectic of Enlightenment. “Films, radio and magazines make up a system which is uniform as a whole and in every part.”
Make a choice
So, what is to be done about all this? We obviously can’t stop the slow march of content. And we wouldn’t even want to – art still has the power to move us, even as it comes in a deluge.
Of course, being more aware of what we consume, and when we consume it, and why won’t stop capitalism. But it will change our relationship with art.
The answer, perhaps, is intentionality. This is a mindfulness practice – thinking about what we’re doing carefully, making every choice with a weight and thrust. Not doing anything passively, or just because you can. But applying ourselves fully to what we decide, and accepting that is the decision that we have made.
The filmmaker Jean-Luc Godard once said that at the cinema, audience goers look up, and at home, watching TV, audience goers look down. As it turns out, we look down at far too much these days, regardless of whether we’re at home or in the cinema. We take content for granted; allow it to blare out across us; reduce it to the status of wallpaper, just something to throw on and leave in the background. It becomes less special, and our relationship to it becomes less special too.
The answer: looking up. Of course, being more aware of what we consume, and when we consume it, and why won’t stop capitalism. But it will change our relationship with art. It will make us decision-makers – active agents, who engage seriously with content and learn things through it about our world. It will preserve some of that transcendence. And it will reduce the exhausting tyranny of choice, and make these decisions feel impactful.
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