Enemy

Villeneuve’s film, Enemy (2013), is ostensibly about two men who look alike (they are played by the same actor). Jake Gyllenhaal plays both Adam and Anthony. That both characters have the same frontal scar in the same bodily location signals that the identity goes beyond the possibility that they are identical twins. The identity topic in philosophy of mind is thus salient in the film, and this has invited several commentators to delve deeply into psychological analysis to suggest that Adam is a figment of Anthony’s subconscious, or vice versa. The film does not make clear what exactly is real and what may be a character’s mental construction. Suffice it to say that the film is very difficult to comprehend. Even when Anthony’s wife appears to Adam/Anthony as a giant spider at the very end of the film, it is only conjecture to assume that the spider represents the heaviness of constraint in being in a relationship of commitment rather than anything goes—the latter being inconsistent with a real relationship. The film presents the viewers with intimations of philosophy of mind and more directly of relationship ethics; these two domains play off each other.

The full essay is at "Enemy." 

San Francisco’s Frameline Film Festival: On the Negative Impact of the Castro’s Culture

Ideological intolerance may not be typically thought of as stemming from a psychological pathology from unresolved emotional problems, especially if the ideology is classified under “political speech.” Even so, the vehemence with which flashes of hostility are unleashed by an intolerant ideologue against people objecting to the person’s ideology and thus to it being imposed as if it were God’s eternal truth is plainly psychological. Volunteering at a film festival in San Francisco in late June, 2026, I was the receiver, or lightening rod, of such vitriol from two attendees and the festival’s manager who oversaw the volunteers because I had unwittingly made statements that violated the dominant ideology not only at the festival, but in San Francisco moreover. In business schools, it is well known (or should be well known) that an organizational culture can reflect a wider culture in the organization’s environment. A toxic local or societal norm, which reflects values, beliefs, and even assumptions held by a sufficient proportion of inhabitants to gain a “critical mass,” can infect organizational cultures within the locality or society. I contend that this dynamic applied to the Frameline (LGBT) film festival in 2026 and the wider the Castro (gay) district of San Francisco then, where the festival was based. The same overreaching ideology and hostile defense mechanism were salient both in the non-profit organization and, extending beyond the Castro neighborhood, in San Francisco itself as well as in at least some of the suburbs.

The full essay is at "San Francisco's Frameline Film Festival."

 

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."

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."

Fifty Shades of Grey

A sadist is a person who feels pleasure in inflicting emotional and physical pain on another person. For the sadistic personality, the emotional pain that is inflicted on another person for the sadist’s own pleasure need not be associated with sex because emotional or physical pain is broader than that which can be inflicted sexually. Hence, the bottom-line for the sadist psychology is that pleasure that is felt by harming another person, who thus feels pain as a direct result of the sadist, lies in the making suffer. A sadist who does not permit oneself to feel emotion is particularly dangerous because no sympathy or compassion operates as a constraint on how much hurt is inflicted. In such a case, the sadist is like one of the androids in the film Ex Machina as the knife is coldly inserted into the torso of the programmer who built the intelligent machines. Indeed, the narcissistic sadist can be very intelligent in knowing precisely how to inflict emotional pain especially in an emotionally vulnerable victim. Once discovered, such a sadist will endeavor to avoid such a victim, but not because such an unemotional sadist has a conscience and feels guilty. In the film, Fifty Shades of Grey (2015), Anastasia Steele’s life changes forever when she meets the emotionally-tormented billionaire, Christian Grey. She falls in love with the sadist, and, because she wants to be with him, at some point she willingly assumes the masochist role even though she does not feel pleasure from physical (or emotional) pain being inflicted on her person. She loves him so much she wants to enter his deviant world; she even embraces that world. I could see myself doing that were I to fall deeply in love with a sadist, for accepting a person even in spite of that person’s flaws is part of love— unless, of course, lies, sidelining, and emotional betrayals are too much for any trust to be possible. Anastasia may come to treat Christian’s dungeon as a playroom of sorts in which she is his so they can be a couple with an opportunity to connect even more, rather than as a place where he acts out his severe emotional issues in which violence and sex are too closely related in his brain, whether psychologically or physically. Love is to a certain extent blind, or at least purblind. Given how toxic and unpleasant life can be, can we be blamed for valuing deep connection so very much even in cases in which meaning-from-personality comes with such a high cost?

The full essay is at "Fifty Shades of Grey."

Free Will and Moral Responsibility

According to Rousseau, we are born free but we live out our life in chains. Although some people subvert background context and foreground personhood such that the chains are believed to be societally imposed as if people are not sufficiently free to transcend or counter the “binding” external strictures of some institution or society, Nietzsche argues that the sovereign individual is lies at the end of an arduous long process by which our species has become bred to be “to a certain degree necessary, uniform, like among like, regular, and consequently calculable” and thus certain people can be trusted to be reliable in promise-keeping.[1] Such people are free individuals. They are autonomous even against the “Though Shalt Nots” of moral mores, which had their place as virtual societal straitjackets in the development of the species but are legitimately cast off by people who can be relied upon to keep promises without violating them in the heat of the moment. Such people are individuals, but not narcissists, for the latter calculate each moment as to what lies in their self-interest—the feelings of others be damned if they are in the way. It is ironic that moral responsibility applies to the latter rather than to the autonomous individuals because only the free ones can call their “dominating instinct” a “conscience.”[2] Modern society, at least in the West, could use an elaboration on Nietzsche’s description of the autonomous individual in so far as such a person is antipodal to the herd animals on whom moral responsibility should be imposed because they cannot be trusted, for they are not promise-keepers. St. Paul’s dictum to keep the fools at a distance is ironically in line with the second essay of Nietzsche’s On the Genealogy of Morals, where the Christian ascetic priest is lampooned for its innate weakness even as it seeks to dominate the strong out of ressentiment.

The full essay is at "Free Will and Moral Responsibility."

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1. Friedrich Nietzsche, Genealogy of Morals, in Basic Writings of Nietzsche, Trans and Ed., Walter Kaufmann (New York: The Modern Library, 1968), p. 495.
2. Ibid.

Intimidation in Retail: The Case of San Francisco

Visuals are an important ingredient in consumer marketing, so it is surprising to come across retail managers who are so purblind as concerns the latent yet obvious passive aggression in some of the visuals that those managers themselves approve in the name of security. The espoused, yet utterly fake claim that customer experience is improved by the added sense of safety—the actual underlying motive lies in loss prevention—is typically outweighed by the very human negative experience from being intentionally intimidated by passive-aggressive visuals. It may be that such managers, frustrated by high rates of in-store petty theft (i.e., “shoplifting”), are unconsciously taking their latent aggression out of the customers as a group. Even if not, the lack of judgment is palpable from the visuals themselves. It is no wonder that an increasing number of customers prefer shopping online. 

The full essay is at "Retail Intimidation ."

Nietzsche on Promise-Keeping: Sex and Relationships

Friedrich Nietzsche wrote on promise-keeping in Genealogy of Morals as being a result of a refined, and thus cultivated “breeding” of our species, rather than as an innate part of human nature that can be taken out for a spin on day one. In contrast, lying is more expedient and thus primitive in our nature, as if an instinctual urge that is more reflex than refined. In terms of romantic relationships, whether marital or not, “cheating” sexually is definitely a sign of weakness because it places momentary pleasure above being held as reliable (i.e., trustworthy) in terms of promise-keeping. A boyfriend who admits that he might hurt his girlfriend emotionally by engaging in infidelity is really telling her that he is weak-willed and thus not good boyfriend (or husband) material. To be sure, a couple could agree that both can have sex separately with other people, so not being monogamous need not involve violating a promise. I don’t think Nietzsche’s philosophy goes so far as to embrace such an arrangement (especially if romantic feeling or connection is allowed in the separate sex), but neither is monogamy advocated, given the nature of Nietzschean strength that should be allowed out of the cage of societal convention periodically (but not on a regular basis). The concept of strength plays such a powerful role in Nietzsche’s philosophy that even the occasional raw expressiveness of strength beyond a societal straitjacket of moral convention would not be viewed as violating promised monogamy. 

The full essay is at "Nietzsche on Promise-Keeping." 

Distinguishing Theology from Ethics: A Critique of Waging War

Whereas an ethical critique of war appeals to an ethical principle, typically that is against humans being harmed, especially the innocent, a theological critique can be based on a divine degree or on the nature of the divine in contradistinction to human nature as anything but. That is, a distinctly theological critique of war itself or people who wage war is typically based on some obfuscation of the divine and human wherein the latter has sought to appropriate divine nature or attributes to what is in Nietzsche’s famous phrase, human, all too human. Although Kant’s “kingdom of ends” formulation of his categorial imperative looks a lot like Jesus’s Golden Rule, for example, offending rational beings by treating them only as means to one’s own goals is distinct from offending God by violating the divine command of universal benevolence, or “neighbor love,” which is Jesus’s second commandment, which is like unto the first (i.e., to love God). Having probably just now lost, or “blown away,” just about every normal reader, I want to illustrate my point of distinguishing the ethical from the theological by analyzing pertinent comments made by Pope Leo, the first Midwestern (Illinois) pope, in April, 2026.

The full essay is at "Distinguishing Theology from Ethics."

Turkey on Gay Obscenity

On 8 April, 2026, eleven leaders of a Turkish gay-rights group faced a judicial trial on charges of “obscenity” and “violating the protection of the family.”[1] These charges are of course heavily subjective and even controversial, especially well into the twenty-first century by which time gay and lesbian couples were raising children in family units so the issue in Turkey could be said to be which type of family warrants protection. The obscenity charge had to do with the fact that two men or two women kissing romantically in public still made a significant proportion of people uncomfortable in Turkey. Turkish authorities had deemed photos showing gay couples kissing and put on social media to be obscene. That homosexuality was not illegal there at the time rendered the trial perplexing to many in the gay community in Turkey and elsewhere in the world. Perhaps even more perplexing is the fact that the constitution of Turkey contained an article on protecting family values and that gay couples raising children were exempted from even being deemed families.

The full essay is at "Turkey on Gay Obscenity."

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1. Gavin Blackburn, “Turkey Puts 11 Leaders of LGBTQ+ Rights Association on Trial for ‘Obscenity,’” Euronews.com, 8 April, 2026.

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." 

Spotlight

The medium of film can treat organizational, societal, and global ethical problems either from one standpoint, which is appropriate if the assignment of blame for immoral conduct is clear (e.g., the Nazis), or by presenting both sides of an argument so to prompt the viewers to think about the ethically complex problem. This second approach is useful if it is not clear whether a character or a given conduct is unethical. When it is obvious which characters or actions are unethical, a film can still stimulate ethical reasoning and judgment by drawing attention to unethical systems as distinct from individuals and their respective conduct in the film. The film, Spotlight (2015), which is a true story, takes the position that Roman Catholic priests who molested and raped children in the Boston Archdiocese in Massachusetts behaved ethically. The dramatic tension in the film is set up when the chief editor of the Boston Globe, Liev Schreiber, tells the paper’s investigative “spotlight” managers that the story will not go to press until the system that enabled Cardinal Law and others to cover up many child-rapist priests by transferring them to other parishes is investigated. “We’re going after the system,” Liev says in keeping the story under wraps until the entire informal system that has enabled the rapists to continue to lead parishes.  

The full essay is at "Spotlight."

Accountability for the Rich and Famous: A Soft Landing for an Ex-Prince

In ancient Greek tragedy, it was not uncommon for a god or goddess to perform the function of a Greek (i.e., conscience) chorus at the end of a play while being pulled by pullies high above the stage. Deus ex machina is the Latin phrase, which meant, a deity out from pullies. We get machine, mechanism, and even engine from the Latin word, machina. A movie entitled Ex Machina is on an AI android that seems full of life, even miraculous, from “pullies” inside it’s “body.” Ex-Prince Andrew of the (seceded) sovereign state of UK, or “Britain” informally, seemed to fly about the other actors in being able to land, rent-free, fittingly around Christmas, 2025, at the monarch’s Sandringham estate in eastern Britain, still rent-free, and with King Charles funding his brother. Considering that Andrew Windsor should arguably been sent to prison for having sex with a 17 year-old prostitute in the employ of the infamous Epstein, and that a large settlement paid by Queen Elizabeth II made Giuffre’s charges go away, as if magically, Andrew not only landed on his feet, but without touching the ground where us mere mortals make our way through life to survive and perhaps prosper.

The full essay is at "Accountability for the Rich and Famous."

Emilia Pérez

In handling social ethics, especially if the topic is controversial, film-makers must decide, whether consciously or not, whether to advocate or elucidate. Whereas the former is in pursuit of an ideology, the latter is oriented to teasing out via dramatic tensions the nuances in a typical normative matter that move an audience beyond easy or convenient answers to wrestle with the human condition itself as complex. This is not to say that advocation should never have a role in film-making; The film, Schindler’s List (1993), for example, provides a glimpse into the extremely unethical conduct of the Nazi Party in ruling Germany. I submit that the vast majority of ethical issues are not so easily decided one way or the other as those that arose from Hitler’s choices regarding communists, Slavs in Eastern Europe, intellectuals, Jews, homosexuals and the disabled. In relative terms, the ethical controversy surrounding transsexuals is less severe and clear-cut. The value of elucidating is thus greater, as are the downsides of prescribing ideologically. One such drawback to indoctrinating on a controversial issue is that the ideological fervor in making the film for such a purpose can blind a film-maker to the cogency of the arguments made in favor of advocated stance on the issue. The film, Emilia Pérez (2024), illustrates this vulnerability, which I submit is inherent to ideology itself.

The full essay is at "Emilia Pérez."

Cancelled Classes: Harvard’s Far-Left Ideological Courses Take a Hit

I contend that the more courses that are heavily ideological and biased in advocating a particular ideology that a university has, the higher the chances that a university will eventually suffer from a lack of educational legitimacy and perhaps even have to close down for want of students. Even great American universities such as Harvard and Yale are not immune. Their huge endowments could even function as organizational slack enabling a particular ideological bent to percolate throughout the universities for a long time with impunity due to the sheer amount of money in the universities respective invested wealth. When I was a student at Yale, I worked part-time at the Development Office calling alumni to give to the already-wealthy university. I had no idea at the time that being rich could actually harm a university, or allow for educational decadence with impunity. At Harvard in 2024, there was some indication that the students’ freedom in selecting some of their courses was serving a good purpose in putting biased-ideological courses out of business for lack of sufficient enrollment. The student marketplace could substitute for compromised university administration in its educational oversight function. Adam Smith would be proud.

The full essay is at "Cancelled Classes at Harvard." 

Lolita

In being able to engage an audience both visually and audibly, and to do so at close range—something we don’t get from watching a play on a distant stage—the medium of film is capable of resonating with, challenging, and rebounding from both heart and mind. That is to say, the medium can engage us at a comparatively deep level and even touch us profoundly. The medium can tug at our ethical strings and even provoke uncomfortable thoughts and feelings precisely because sound and image can conjoin at close range such that we are brought closer to an ethical harm than is likely in our own daily experiences. Some ethical harms, such as that in a young woman not being able to stop a rape by an older man abusing a stark power differential, may simply be too horrific up close to experience even vicariously. A filmmaker can use devices, whether photographic, audio, or narrative, to moderate our exposure without sacrificing the depth at which the harm and its sordid scenario can reach in us. Such exposure to ethical problems or even to situations in which the ethical verdict is debatable can give to an audience a better realization of the ethical dimension of the human condition and improve our ability to render ethical judgements on specific issues and generally. Writ large, the medium of film can do these things for a society, reflecting and even provoking it with just enough directness to be palatable and grasped. The genre of science fiction in particular has been used to serve this purpose. Even by contrasting an original film with its remake decades later, a society’s changing nature can be glimpsed by an audience, especially as censorship guidelines are loosened as per changing social mores and ethical sensibilities of a society. The fictional film, Lolita (1962), and its remake, Lolita (1997), provide us with an excellent case study not only of changes in twentieth-century American society, but also of how powerful the medium of film can be in its treatment of the ethical dimension of the human condition.

The full essay is at "Lolita."

7 Billion People Worldwide in 2011: Catholicism's Humanae Vitae Compromising or Protecting Human Life?

According to the Huffington Post, “Amid the millions of births and deaths around the world each day, it is impossible to pinpoint the arrival of the globe's 7 billionth occupant. But the U.N. chose on October 31, 2011 to mark the day of that occupant's arrival with a string of festivities worldwide, and a series of symbolic 7 billionth babies being born.” I contend that the milestone is nothing to celebrate; rather, it should have served as a wake-up call for us all, lest the species continue undaunted to maximize itself right out of existence. Both the slope and its relative abruptness, evident in a historical perspective, ought to have given us all pause in our assumption that our species would necessarily go on without either self-regulation or a drastic correction from nature. 

                                            Source: UN Population Division

The full essay is at "The Human Species as an Ecologically Maximizing Variable: Religion as a Catalyst?"

The Age of Adaline: Death as No Longer Inevitable

In The Age of Adaline (2015), the age-old “fountain of youth” leitmotif springs forth yet again. In this incarnation, Adaline is forced to come to grips with the fact that everyone around her, including her daughter, is aging even as Adaline herself does not. A strong electromagnetic has altered her genes such that her cells do not divide at slower rates as they age. As she becomes aware of the repercussions, we in turn can marvel at what may be just decades away scientifically concerning the expected human life-span. In short, when the film came out, scientists were already openly discussing whether death itself may no longer be inevitable for human beings.

The full essay is at “The Age of Adaline.”

A Dangerous Method

The method being referred to in A Dangerous Method (2011) is psychoanalysis, as pioneered by Sigmund Freud (1856-1939). The danger referred to is that of freeing people from their sexual repressions. The film revolves around the relationship between Freud and his younger colleague, Carl Jung (1875-1961), and the relationship between him and Sabina Spielrein, his former patient and eventual lover and colleague. She also had an affair with Freud, but it was not shown in the film. Keira Knightley plays the Russian woman a bit too strongly in the first few scenes. In terms of the acting, Knightley exaggerates facial contortions as if fishing for an Oscar out of sheer emotionality. In terms of the narrative, Spielrein’s “transformation,” or cure, is hard to take as credible because it is so drastic within a year or two. Before long, she is behaving completely normal and even attending medical school. The film’s merits lie not with the acting, but, rather, with the intellectual content, whose salience and integration into a good narrative is rare in Hollywood. It is due to this feature that the film is apt to stay with a viewer for some time.

The full essay is at "A Dangerous Method."