Apr 022025
 

Youtuber Matt Bernstein speaks with Moira Donegan and Adrian Daub (of the podcast In Bed With The Right) about “The Incoherent Sexual Politics of the Right”. The right wing/conservative resurgence we’ve seen over the past decade or so swings widely from the puritan to the libertarian in sexual matters. There’s a desperate scramble to seize the sexual high ground, to present themselves as the side of beauty and pleasure, and denigrate the sex of queer people and feminists as ugly and boring.

In particular, the conversation follows the trajectory of the “tradwife” image, epitomized by the “raw milkmaid dress”. They describe how the tradwife went from the epitome of conservative female modesty and domesticity to a sexualized fetish outfit over the span of only a year or two. Classically Abby, one of the best known advocates of tradwifism, shut down her Youtube channel late last year, because of the raunchy side of her supposed supporters.

There’s a long-standing precedent of female clothing that is supposed to de-sexualize the wearer becoming sexualized and fetishized; e.g. the French maid cliche. That a fetishized version of the tradwife image would appear so quickly is hardly surprising.

It represents the internal rift in the conservative movent, between the puritan and libertine wings. The image of the tradwife in Evie magazine, as modest yet seductive, sexually adventurous yet strictly hetero and monogamous, proved untenable. They couldn’t reconcile that dialectic.

Puritans and libertines have one thing in common: they both believe they should have control over other people’s bodies. In Margaret Atwood’s dystopian The Handmaid’s Tale, the patriarchal, theocratic fascists of Gilead subdivide women into specialized groups, each with their own sartorial code: handmaids in red for reproduction, wives in blue for running households, aunts in brown to manage handmaids, marthas in green for housework, and jezebels in fetish costumes from the old “decadent” days. They’re all different parts of the same system.

Jan 012025
 

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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Nov 012024
 
Reggie and Pete on the road

The Leather Boys is a 1964 British “kitchen sink” drama film about the working-class motorcycle club culture of the early 1960s. While featuring little explicit sex of any kind, it does provide a glimpse of the leather-clad biker culture of the time in the UK. It was also an early sympathetic treatment of male homosexuality in British film. Amazon

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Aug 202024
 

Tokyo Decadence is a 1992 Japanese drama film, directed by Ryu Murakami and starring Miho Nikaido. (All quotations are from the English subtitles.) Amazon

Ai (Japanese for “love”) is a 22-year-old professional submissive sex worker, adrift in 1990s Japan, lacking in direction.

Ai with client.

In the very first scene, Ai is tied up and naked. Her client tells her S&M is all about trust, but then blindfolds her despite her objections. He injects her with something, also apparently without her consent. (Drug use, both giving and receiving, is a recurring motif.)

In Ai’s scenes with her clients, she is awkward and passive, as if she wandered into a stage play and doesn’t know or understand the script. Clients impress their own ideas and archetypes upon her, more like a prop in their visions. Ai’s blank-ness may actually be an asset in her line of work, having little sense of self to interfere with her client’s fantasies.

The yakuza client has Ai pose in front of the skyscraper window.

The second client Ai sees, implicitly a Yakuza gangster, asks her about herself. She says:

Ai: I’ve discovered that I have no talent whatsoever.

After a scene with the gangster and his girlfriend, Ai pulls the bondage gear off and vigorously brushes her teeth. On her way out, the gangster overpays her and says to her:

Gangster: Don’t think you’ve no talent. That’s a cop-out.

Another client wants to be strangled by Ai and another escort while receiving oral. The two women think they accidentally killed him, and are astonished when he suddenly comes back to life.

Yet another client, who initially is friendly enough, proves to be a necrophile who wants to re-enact a specific rape and murder with Ai. When he tries to strangle her, Ai finally resists. He lets her go, but demands his money back. This puts Ai on thin ice with her manager.

Ai and Saki

On a threesome assignment, Ai meets Saki, a pro-dominatrix who deftly commands their masochistic male client (and Ai too). Saki shows the kind of confidence and control Ai lacks. Saki takes Ai to her lavish home, where they hang out. Saki proves to be a serious cocaine user (she snorts, injects and smokes it).

Ai: You must be wealthy.

Saki: Not really. It’s Japan that’s wealthy. But it’s wealth without pride. It creates anxiety, which drives our men into masochism. I’ve made my living out of these men.

Saki gives Ai an unspecified drug that will allegedly give her courage. After her night with Saki, Ai goes on a journey to find her former lover who married another woman, though it’s implied he actually died.

In a post-credit scene, Ai appears on stage, dressed in a Saki-like outfit. She signs something in sign language, then dances in a far more confident way.

Ai at her manager’s office.

I wouldn’t call Ai masochistic. She doesn’t embrace her experiences, but instead seems detached, even confused. It’s different from Lucy in Sleeping Beauty (2011); Ai seems like a person who has lost her way, and looks to others for direction. She watches Saki dominating the client like a person attending a university lecture that they just don’t understand.

BDSM in Tokyo Decadence is not a means to connection or intimacy. It’s a symptom of a dysfunctional society, of men (mostly) who have too much money for their own good, paralleled by the drug use (mostly cocaine and other stimulants) and the gourmet meals. Human connection is what’s missing, and what Ai searches for.

Mar 142024
 

The notorious “Fur and Loathing” (aired October 30, 2003) episode of CSI is supposed to be about the furry subculture, but it actually demonstrates the investigative procedural’s particular view of sexuality and identity.

A routine traffic accident leads Grissom and Willows to what they at first think is a coyote but is actually a dead man in a raccoon fur suit. This leads to PAFCon (Plushies and Furries Convention), which the deceased, Robert Pitt, attended.

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Nov 152023
 

I Love a Man in Uniform (also released as A Man in Uniform) is a 1993 Canadian psychological drama. IMDB

Henry Adler, a bank clerk and would-be actor, witnesses a police officer be shot. He seems excited by this.

Henry auditions for a secondary role, Officer Flanagan, on a TV cop show, Crimewave. He shows an aggressive and domineering side as he pushes around a female production assistant.

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Aug 142023
 

L-R: Josef von Sternberg, Marlene Dietrich, on set

Dishonored is a 1931 spy thriller directed by Josef von Sternberg and starring Marlene Dietrich as Marie Kolverer, aka “X-29”.

Set in during the First World War and loosely based on the life of historical spy Mata Hari, this is the third of seven collaborations between director von Sternberg and star Dietrich, following The Blue Angel (1930) and Morocco (1930). Dietrich usually played remote, independent and seductive women in these films.

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