The Big Brother Complex: What Information Can The Police Get From Your Phone?


(Original post at Decode Magazine)

What does your phone say about you?

From drunken selfies to private emails to banking information, modern smartphones can store vast amounts of personal data about their users. Police across the country are taking advantage of this new reality, investing in new mobile phone extraction technology that can reveal more about the people than your contact list.

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SMILF: ‘Chocolate Pudding and a Cooler of Gatorade’


(Original post at The National Student)

When is a sitcom not a sitcom? When it’s a heartrending triptych of failed ambition. This week’s episode of SMILF, a show that’s only nominally a comedy, sees Bridgette, Tutu, and Rafi come face to face with their own delusions.

Just a few episodes earlier, the news that a new women’s basketball team was forming in Boston helped Bridgette overcome the shock of being sexually assaulted. In Chocolate Pudding & A Cooler of Gatorade, Bridgette finally receives the letter she’s been waiting for and is given the chance to show her skills.

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Trauma and Sexuality in Crash and Blue Velvet


TW: rape

Crash and Blue Velvet are intimately concerned with the link between trauma and sexuality, both consciously and unconsciously revealing the impact of traumatic sexuality on its participants, particularly women.

Two films that are often considered the most successful of their respective directors, their presentations of trauma and sexuality are also indicative of the flawed societies in which they are produced. Yet despite their shared preoccupation, David Cronenberg and David Lynch approach this relationship from inverse positions.

Whilst Cronenberg explores the erotic potential of traumatic events in Crash, Lynch’s Blue Velvet highlights the inherently traumatic origins and nature of sexuality through its Freudian themes.

Their respective examinations of traumatic sexuality disproportionately affect their female characters, with Cronenberg reinscribing misogynistic tropes within his supposedly liberating new form of sexuality, and Lynch’s visceral rape scenes complicating his otherwise progressive rejection of violence against women. Cronenberg’s and Lynch’s views of traumatic sexuality are complex, but both struggle, to varying degrees, with regressive attitudes towards female characters.

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