After Fall, Winter is a 2011 drama film, written by, directed by, and starring Eric Schaeffer, along with Lizzie Brocheré.
Michael (Schaeffer) is an American writer who is borderline suicidal because he is $600,000 in debt and struggling to sell his next book. On impulse, he takes a friend’s invitation to travel to Paris for the winter holidays. He also sees a pro-domme for humiliation.
Shadow Hours (2000) is an independent drama film written and directed by Isaac H. Eaton and starring Balthazar Getty, Peter Weller and Rebecca Gayheart. IMDB
Michael Holloway (Getty) is a recovering drug addict who works the night shift at a Los Angeles gas station. He’s trying to plan for the future with his pregnant wife, Chloe (Gayheart). The pressures and isolation of his job push Michael towards using again. One night, Michael meets Stuart Chappell (Weller), a wealthy, mysterious stranger who claims to be a writer. Stuart takes a liking to Michael, buys him a new suit, and pulls him along on nightly expeditions into the dark underside of the city.
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Salò (1975) was written and directed by Pier Pasolini as an adaptation of the notorious pornographic novel, The 120 days of Sodom, written by the Marquis de Sade while in the Bastille. It was part of the Naziploitation film boom in the mid-1970s. It was also Pasolini’s last film, released three weeks after his murder.
This movie will bore you, horrify you, or both.
Pasolini transplanted the story to Italy in the last days of WWII. Four fascists marry each other’s daughters, and form a covenant. They select a group of beautiful young women and handsome young men, some armed enforcers, and some elderly brothel madams, and seal themselves up in a chateau.
CSI‘s episode “King Baby” (S05E15) is another Jerry Stahl co-written episode, which focuses on another sexual kink, infantilism/ageplay/ABDL (adult baby/diaper lovers).
The sexual dynamics of the American conservative resurgence have been fascinating over the last few years.
Evie Magazine is a conservative women’s magazine first published in 2019. Its aesthetics and content reflect the “trad life/trad wife” movement, creating a pastoral fantasy of rural, agrarian labour combined with an idealized hetero-nuclear family. At the fringier end of things, Evie’s content splices into ideologies like pronatalism, anti-vaccination, the benefits of “raw milk” and other health quackery, transphobia, anti-feminism, COVID denial, QAnon, etc.
It’s epitomized by the “tradwife” image, a (white) long-haired woman in a white or print dress, hair kerchief, and cowboy boots who has had borne and raised several children while running a country farm and baking her own bread daily, and yet somehow still looks like a fashion model. She does no paid labour outside the home, instead leaving that to her commuting (white) husband.
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Strub, Whitney. 2011. Perversion for Profit : The Politics of Pornography and the Rise of the New Right. New York: Columbia University Press. Amazon
I’ve been reading Whitney Strub’s book, and despite its age, it is still very relevant in explaining the culture war over pornography in American politics. One of the things he details is though American history is littered with censorious firebrands like Anthony Comstock, those moral crusaders frequently stumbled over the problem that the majority of Americans don’t care very much about pornography as an issue. Men like Comstock and Charles Keating of Citizens for Decent Literature could mobilize a small, but vocal minority.
As Strub tells it, when the neoconservatives and the New Right rose to cultural power in the 1970s, they had to reconcile their belief in small government, free markets, and libertarianism with more culturally conservative allies, particularly evangelical Christians.
Thought it sought a socially conservative, generally religious voting base, the New Right was heavily corporate-sponsored, and such groups as the Committee for Survival of a Free Congress recognized the value of neocon thought in legitimizing their project of deregulating American markets even as they reregulated American morality.[Pg.190]
We’ve seen this strange-bedfellows alliance ever since, creating people who believe the Invisible Hand should rule everywhere except areas like pornography, abortion, and queer issues.
In 1979 the New Right organizer Paul Weyrich had come dangerously close to admitting the movement’s emphasis on social issues was a shallow commitment designed to garner evangelical votes while obscuring the substantive procorporate agenda of New Right politicians: “Yes, they’re emotional issues, but that’s better than talking about capital formation,” he said. Certainly the corporate benefactors of the New Right’s organizational superstructure valued profits over ideology; Coors, for instance, was headed by a reactionary zealot whose donations largely funded the important Heritage Foundation. But when the company recognized the consumer power of the gay market in 1979, it unhesitatingly ran ads in the gay paper the Advocate. [Pg.191-192]
More than 40 years later, we still see the same dynamic, even if the names have changed: trans people instead of gay people, puberty blockers instead of abortion, “cultural Marxism” instead of “the permissive society”. The 2023 brouhaha over trans streamer Dylan Mulvaney endorsing Bud Light suggests that the free-marketers sometimes back down when challenged by the cultural conservatives. Donald Trump himself embodies this contradictory political alliance: a man with multiple wives and a history of sexual indiscretions, who has been on the cover of Playboy magazine, can somehow be favored by the Christian right and even more reactionary forces. Grifters and quacks like Matt Walsh, Ben Shapiro, and Jordan Peterson constantly stoke culture wars over issues of sexuality and gender, anything to drown out considerations of economic policy from the discourse.
I’ve said it before, and I hope I’m wrong, but I still think it’s only a matter of time before BDSM takes the place of trans in this particular social-political complex.