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A recent in the New York Times essay noted how the culture is rejected to condemn toxic masculinity in order to consider it a dark and “perverse” sexual imagination.
In his Tuesday pieceMatthew Schmitz, editor of the compact magazine, described in detail how toxic men keep the culture growing sexually and that newer Hollywood films deal with this dynamic instead of painting such characters as completely detention.
“While the official disapproval of the poisonous man remains in these films, she coexistes with an unknown and often perverse attraction for him. All of this, like uncomfortable, also speaks the continuing attraction of poisonous masculinity – or perhaps of masculinity as such as such “Schmitz wrote.
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The entertainment industry has sentenced to toxic masculinity less in recent years. (Ibrakovic/Getty)
The author discussed how, despite the #metoo movement and the efforts of the progressive activists, problematic male behavior throughout the Trump era was stigmatizing, “signs of uncertainty” gave whether the culture was willing to condemn it immediately.
“If the Second choice of Mr. Trump And the rehabilitation of various “canceled” male figures is a hint. Many people have had doubts as to whether apparently toxic men could or should be banished from society, “he wrote.
Schmitz then pointed to the youngest Hollywood films, which reflect the open “ambivalence” of culture towards toxic men.
“These films – including ‘Baby Girl’ (2024)‘Fair Play’ (2023), ‘Cat Person’ (2023), ‘Deep Water’ (2022), ‘Die Voyeurs’ (2021) and ‘Instinct’ (2019) – suggest that today’s sexual policy separates Pieties “, he said and added,” while the official disapproval of the poisonous man remains in these films, it is with an unknown and often perverse appeal for him. “
He compared this attraction with that of another forbidden attraction, which was found almost a century ago, and explained: “When Noir appeared as a genre in the 1940s, she focused on the dangerous attraction of the femme fatal, a number to ignore it impossible and yet to embrace.
The compactMAG editor Matthew Schmitz argued that the current attraction of culture on toxic men in the 1940s was to fix culture with femme fatales. (Retroatelier/Getty)
Schmitz noticed that this attraction was based on “ambitious, sexually independent women” on “significant changes in American society”, which took place at the time when women entered the workforce in large numbers, who traditionally were done by men And they performed competently. “
“Americans who had feelings about this new kind of woman in conflict saw their ambivalence in Noir,” wrote the editor and added that this was added fatal woman Characters “were sexually brave and economically enthusiastic.” They “also took men and money that did not belong to them.”
Since these characters were considered “transgressively” in their time, the toxic man is also today. He is “the cultural figure that strongly causes the ambivalence of the poisonous males,” said Schmitz.
However, he explained that these films do not remove the characters’ poisonous male characters of their behavior as “most of these films”. The way in which they are presented serves “a gap between what people should want and what they actually want,” he explained.
“By presenting a socially unpopular type in exaggerated and often convincing terms, they show the contradictions in public morality,” wrote Schmitz, adding, “they show that we are not entirely willing to do without poisonous men, just like that United States in the United States in the 1940s found something attractive to women who had struck traditional terms of femininity.
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