I Want Your Sex

The 2026 film, I Want Your Sex, is ostensibly about sex, for the film is saturated with that leitmotif, but the narrative is actually a critique of California culture, with European culture playing a minor role to provide a contrast. Generally, comedy can be used by screenwriters as a means by which audiences can accept, or at least acknowledge criticism that would otherwise be met with ferocious denial befitting a drug addiction. In 2026, the sheer dogmatism of ideologically-soaked imposing at will, as if with facts of reason rather than the gloss of merely subjective opinion, was the mentality of the day afflicting (young) adults under 40 years-old in California. Film can expose such banality to the light of day and thus serve as a self-correcting agent for a societal or sub-societal culture, for the human brain, standing on its own as arrogance on stilts, may be woefully and even unretrievably vulnerable to purblindness when  beliefs and values are in the grip of ideological idolatry.

The full essay is at "I Want Your Sex."

Israel in Lebanon: On the Hubris of Hatred

Hatred warps reasoning as well as ethical judgment along the lines of a warped time-space fabric around a large mass. In other words, the sheer gravitational pull of self-centeredness can bend both thought and judgment. As essentially egoist, this phenomenon can itself be considered to be unethical, for what are actually equivalent ethical harms are perceived as unequal at the expense of other people or peoples. Even though Israel’s military attacks in, and invasion of, Lebanon in 2026 could be said to be in violation of international law, Israel’s national security minister said on June 19^th that all of Lebanon must burn because four Israeli soldiers had just been killed in combat when their tank was hit near Kfar Tebnit. The official’s statement is significant in that it lays bare the false equivalence of the lives of four Israelis and the entire population of Lebanon. The warped judgment and related ratiocination behind such a baseless equivalence can be grasped from the standpoint of utilitarianism.

The full essay is at "Israel in Lebanon." 

Iván & Hadoum

As the protagonists in the film, Iván & Hadoum (2026), neither Iván nor Hadoum, who fall in love, are heterosexuals even though by all appearances, save the long surgical scares under Iván’s former breasts, the couple is a man and a woman, and indeed Iván psychologically identifies himself as a man and Hadoum is a woman both biologically and in how she sees herself. To claim that Hadoum is heterosexual simply because Iván views himself as being a man, even though Hadoum is sexually attracted to Iván’s vagina, would be utter ideological nonsense. Besides being gay or bisexual, and thus easy targets for discrimination by agriculturalists in southern Spain, the two people are of different national origins, for Iván was born in Spain whereas Hadoum’s family hails from Morocco. Additionally, Iván is Caucasian whereas Hadoum is an Arab, and Iván is Christian whereas Hadoum is Islamic. Even in terms of labor-management relations, the couple is ripe for division by other people, for Iván is on a management tract—the warehouse being still owned by his uncle Manuel—whereas Hadoum is a greenhouse/warehouse worker, and a disgruntled one at that. It would seem that Ian de la Rosa has written and directed a film in which many ethical tropes are in play; which one is subject to the most unethical harm goes unanswered. Even so, by including unethical conduct on all of them, the film takes a step in the direction wherein audiences can think philosophically in weighing the ethical harms relative to each other.

The full essay is at "Iván & Hadoum."

The European Parliament: Rejecting the Council’s Proposed Budget

On 16 June, 2026, the European Parliament rejected the European Council’s proposed budget for the E.U. not only because of the proposal’s €32.8 billion budget-cut, which would reduce the six-year 2028-2034 federal budget even below that which the Commission had proposed, but also because the Council had refused to address the issue of federal-sources of revenue, which was made increasingly salient by the increasing need of funds at the federal level. In seeking to keep the federal institutions dependent on money supplied by the states, the Council, which like the U.S. Senate represents states, can be viewed exploiting a conflict of interest at the expense of the ability of the E.U. to operate even within its given mandates. Put another way, the requirement that the Parliament pass any proposed budget can be viewed as a check on the state-centric Council’s proclivity to put the interest of the parts above the whole—the individual states above the Union.

The full essay is at "The European Parliament."

Europe: Over- and Under-Represented in the G7

I contend that in having both federal and state-level officials attending the G7 international meetings, Europe is over-represented even as the E.U. itself is sidelined. At least this was the case at the meeting in June, 2026 in the E.U. state of France. The staying power of the seven countries comprising the Group could be considered as antiquated, given the relevance and importance of the E.U. in international relations. The very intractability of institutional arrangements (i.e., structures) even in the face of a changing political environment can thus be viewed as problematic. By implication, the exclusion of the E.U. from the United Nations international organization can be viewed as effectively relegating the UN as a structurally-frozen “has been” by the 2020s.

The full essay is at "Europe."