Transgendered (Male) Athletes in Women Sports

While the 2026 World Cup was underway in North America, the U.S. Supreme Court handed down a ruling, which is to say, a judgment rationally argued, siding with member-states that did not permit “Y chromosome” students in public schools to play in on “XX chromosome” sports teams. Not being a writer who fecklessly evades controversial topics for fear of turning away some readers, I will attempt to tackle the jurisprudence and ethics of male athletes who self-identify as women playing in women sports such as American football in public schools.

The full essay is at "Transgendered (Male) Athletes in Women Sports."

Enzo

In 2025, when the film, Enzo, was released, Russia’s ongoing invasion of Ukraine was still in progress before being overshadowed in the media by fresh American and Israeli military attacks in Iran. The film distinguishes the respective attitudes of two Ukrainian construction workers in the E.U. state of France regarding whether to return to Ukraine to join the army. This contrast implies that patriotism, and, moreover, duty, is a weak force in human nature, even when a citizen’s country is in serious, existential trouble in being invaded by an empire-scale military aggressor.

The full essay is at "Enzo." 

Downtown

Like the coronavirus in the early 2020s, HIV/AIDS in the mid-1980s and for at least a decade after then paid little or no attention to national borders or even to nationalities. Even though coronavirus freely walked through the boundaries of our various group-identities with the implication being that they are actually artificial demarcated constructions, AIDS showed us that sub-societal cultural differences do exist. In fact, within a given sub-culture and thus group-identity, one set of values may be ethically and psychologically better than another set, so broad-strokes can be understood as over-simplifications.

The full essay is at "Downtown."

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."

Call Me by Your Name

The medium of film has the potential to not only to move audiences emotionally, but to speak to fundamentals in the human condition so that we may know ourselves (and each other) better on the subterranean level of essences. The 2017 film, Call Me by Your Name, is not “gay cinema” even though 17-year-old Elio falls in love with Oliver, a 24-year-old beginning doctoral student when the latter is staying with Elio and his parents at their villa in Italy during the summer of 1983. Falling-in-love, so unmistakable once it has hit, is so utterly human at the gut-level that the twists and turns in a narrative are but superficial in comparison, and even the gender of the beloved may come to matter less than would typically be assumed. In fact, both Elio and Oliver are attracted to women, and after his summer stay Oliver calls the Perlmans during a winter Jewish festival to announce that he is engaged; for even though Elio fell for Oliver, Oliver is not in love with Elio. Elio must take the unrequited love as a given, as about as hard as reality can be felt, and so Elio has the choice of whether to suffer the loss or "stuff it" emotionally by burning emotion itself from his very being.  Precisely this decision is the subject of a father-son talk that he has with his dad after Oliver has left. It is the substance of that talk that anchors the film firmly in the human condition, such that even the narrative, not to mention the fact that Elio has fallen for a man, is transcended. It is just such a transcendence that renders the medium of film so substantial, even meaningful, even if mostly just potentially. Parsing the father-son dialogue will lay bare this thesis.

The full essay is at "Call Me by Your Name."

The String

The original title of the 2009 film, The String, is Le Fil, which actually translates as thread rather than string. These two English words have different connotations and this bears on the film’s leitmotif. Whereas a person can string another person along, a thread has a connotation of linking people emotionally. The thread that ultimately succeeds in the film is that of caring, which is antipodal to hurting, emotionally speaking. In this sense, the film is like The Holiday (2006), another romantic drama in which the good guys (and gals) wind up on top. In terms of the theme of caring and not hurting other people, that The String centers on two gay men who fall in love whereas The Holiday is about two heterosexual couples matters little, though the resistance to homosexuality in The String is an additional hurdle. I contend that like The Holiday, The String can provide audiences with how falling in love can proceed naturally without exploding because one person hurts the other. In other words, the ethical wins out in both films in regard to emotionally intimate romantic relationships, and in this respect the medium of film has value in terms of ethics.

The full essay is at "The String."

The Imitation Game

Films in which philosophy of mind is salient may, like films in which metaphysics is reconfigured, run the risk of not being understood. The Matrix (1999), however, depicts solipsism (or, “mind in a vat”) in a way that viewers could grasp the philosophy without much difficulty. Dialogue, image, and narrative all contribute to give audiences a coherent sense with which they can go on to look at their daily lives as if they were illusory rather than real. Sixteen years later, The Imitation Game (2015) brought to audiences a salient question that would become more pressing during the AI revolution: How does the human brain’s thinking differ from a computer’s thinking?

The full essay is at "The Imitation Game."

Religiosity among Young Republican Men: An Escape from Homosexuality to White Privilege?

Idealism may exist especially in young adults because they have not experienced decade upon decade of the intractability of a deeply flawed social, political, and economic world’s status quo, which typically permits only incremental change. Zealous optimism can be expressed in a variety of domains, including religion, social issues, and politics. For example, political group-affiliation can stimulate a more intense devotion to religion, and vice versa. Even a passion on social agendas can translate into increased religiosity, and the latter can overreach onto the former. It can be asked of such instances whether the religiosity is genuine, or merely transferred energetic enthusiasm from another domain. The upsurge in religiosity among young Republican men polled by Gallup in the mid-2020s may be more political than religious. Relative to the growing numbers of non-religious-affiliated people in the U.S. as well as the E.U., the uptick among young Republicans should be put into perspective.

The full essay is at "Religiousity among Young Republican Men."

Sexual Abuse in Churches: A Turn to Healing

When Sarah Mullally was formally installed in a historic ceremony at Canterbury Cathedral on March 25, 2026, a former nurse became the Archbishop of Canterbury. Her vocational background highlights the importance of healing, which was appropriate because her predecessor, Justin Welby, had stepped down because he had failed to address a serial sexual-abuse scandal. It had been important most of all to the victims—boys at a church camp who were sexually molested by a gay man volunteering at the camp—that Welby go. Close to the day of the ceremony, Mullally promised explicitly to attend to such victims, as is fitting and proper for a Christian cleric to do. It is what Jesus Christ would do, whereas he would not recognize the sexual predators or their enablers in the hierarchies of Christian denominations. The contrast itself bears witness to just how far some denominations had fallen from being justified in claiming to follow the principles preached by Jesus in the Gospels. That those sects had been able to do so even while representing themselves as distinctly Christian institutions shows just how power clerics have in beguiling laity.

The full essay is at "Sexual Abuse in Churches." 

Sarah Mullally as the Archbishop of Canterbury

On January 28, 2026, Sarah Mullally became the first woman to occupy the seat of the archbishop of Canterbury, which is the spiritual leader of the Church of England under its governor, the British King (or Queen) and of the worldwide Anglican Communion, which includes the Episcopal Church. The King (or Queen) being above the archbishop in the Church of England is in line with Thomas Hobbes’ seventeenth-century theory that the sovereign should be in charge of church and state lest civil war break out (again). Just as a British king is a man and a queen is a woman, so too, as of 2026, the Archbishop of Canterbury could be a man or a woman. This of course set the Anglicans even further off from the Roman Catholic Church, where only men can be priests and bishops, including that of Rome (i.e., the Pope). I contend that the intransigence on this point is due to a logical error involving a category mistake just for added fun.

The full essay is at "Sarah Mullally as the Archbishop of Canterbury."

The Vatican on the Brink of Bankruptcy: The Missing Piece

During at least its first millennium, Christianity—with the notable exception of Clement of Alexandria—held that greed is tightly coupled to profit-seeking and wealth. Amid the increased trade, and profits, during the Commercial Revolution in the Middle Age in Europe, Aquinas began the trend severing the coupling to allow for greedless moderate profits, and thus wealth. Also in Medieval Europe, the Roman Catholic Church allowed monasteries to have collective wealth (including land) without being subject to having to go through the eye of a needle to enter the Kingdom of God.[1] With it supply of gold and real estate, the Vatican could be considered rich in the twenty-first century. When the exemption for collective wealth justifies those holdings from the stain of greed is one question; here I look at reports in 2024 that the Vatican was on the brink of bankruptcy, and why, for at least in one media report, one major reason is curiously left out even though that reason may have been making all the difference, and may even be considered just, whether in terms of divine or human justice.

The full essay is at "The Vatican on the Brink of Bankruptcy."

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1. See my books, Godliness and Greed, and God’s Gold, the latter text reflecting my further thought on the topic, especially on how Christianity can be held off from the increasing susceptibility to greed theologically.

Far from Heaven

The film, Far from Heaven (2002), centers around a woman whose husband turns out to be gay. That this is set in 1957-1958 in socialite Connecticut is all the more telling, as the Caucasian woman finds her groundskeeper, who is a Black man, to be “beautiful.” The film is arguably a remake, or at least informed by, the film All that Heaven Allows (1955), in which a widow begins dating a younger, muscular man who tends to her trees. Although race and homosexuality are not issues in this earlier film (which, after all, was made in the 1950s), that a woman who socializes with friends who belong to a country club in New England would dare to date a younger man of a lower economic class—albeit not as low as the woman’s son and friends stereotypically suppose—was scandalous enough in the 1950s to furnish a tantalizing plot. That a filmmaker in 2002 could get away with portraying an interracial extra-marital sexual interest and a gay or bisexual husband having anonymous sex with men (even showing the husband kissing one of the men), whereas a filmmaker in 1955 would not have been able to get away with including such taboos (much less making them central), says something about the cultural trajectory of western civilization temporally.

The full essay is at "Far from Heaven."