An essay of the New York Times recently commented how culture seems to be moving away from condemning toxic masculinity to see it as a dark and “perverse” sexual fantasy.
In his Tuesday piece, the editor of Compact Matthew Schmitz magazine explained how toxic males have growing sexual control over culture and that Hollywood's most recent films are deepening that dynamic instead of painting characters as completely detestable.
“While the official disapproval of the toxic man persists in these films, he coexists with an unrecognized attraction already perverse to him. All of which he speaks, for uncomfortable, uncomfortable, with the continuous attraction of toxic masculinity, or perhaps of Masculinity as such. ” Schmitz wrote.
Joe Rogan applauds to USAID the closure of the elimination of 'strange, shaded s —' in the government
The entertainment industry has been less condemned in its representations of toxic masculinity in recent years. (Ibrakovic/Getty)
The author discussed how, despite the #MeToo movement and the efforts of progressive activists to stigmatize male problematic behavior during the Trump era, there were “signs of uncertainty” about whether culture was willing to condemn it directly.
“If Mr. Trump's second choice and the rehabilitation of several male” canceled “figures are an indication, many people housed doubts about whether seemingly toxic men could or should be banished from society,” he wrote.
Schmitz then pointed out the recent Hollywood films that reflect the open “culture” ambivalence “towards toxic males.
“These films, including 'Babygirl' (2024), 'Fair Play' (2023), 'Cat Person' (2023), 'Deep Water' (2022), 'The voyeurs' (2021) and 'Instinct' (2019) – suggesting that today's sexual policy is in the tendency of progressive piety, “he said, and added,” while the official disapproval of the toxic man persists in these films, coexists with an unrecognized attraction already often perverse towards him. “
He compared this attraction with that of another society of prohibited attraction that was delivered almost a century ago, stating: “When the noir arose as a genre in the 1940s, he focused on the dangerous attraction of the fatal woman, a figure to the figure to the Time attractive and threatening, impossible to ignore but mortal hug. “
The Mag Compact editor, Matthew Schmitz, argued that the current attraction of culture towards toxic males is like the fixation of culture with female fatals in the 1940s. (Retroatelier/Getty)
Schmitz said that this attraction for “ambitious and sexually independent women” arose from “transcendental changes in American society” that were happening at that time, when women “entered the workforce in large numbers, taking jobs that were traditionally carried out and made competently. “
“The Americans who had feelings in conflict about this new type of woman saw their ambivalence expressed in Noir,” the editor wrote, adding that these female characters Fatale “were sexually bold and economically eager.” They also “took men and money that did not belong to them.”
As these characters were considered “transgressors” in their time “, so is the toxic man today. He is” the cultural figure that most causes ambivalence is toxic man, “said Schmitz.
However, he explained, these films do not acquit the toxic male characters of their behavior as “most of these films punish” the characters. The way they are represented to “reveal a gap between what people should be desired and what they really want,” he said.
“When representing a socially disadvantaged type in exaggerated terms, they are already convincing, they reveal contradictions in public morality,” Schmitz wrote, and added, “they show that we are not completely ready to do without toxic men, as well as the United States in the United States in the United States in the 1940s found something attractive in women who mocked the traditional notions of femininity. “
Click here to get the Fox News application
