Sep 23, 2026 · 9 min · 5 segments
It's another sampler for the Quietus Low Culture Podcast, which goes out each month to our Subscriber and Subscriber Plus tier supporters. This month, tQ…
Luke TurnerHostJohn DoranHostWell, the sex and, you know, its kind of close relationship to violence in this film and mental illness... is I, you know, I'm sorry if this sounds like a cop out, but I think yet again, I think this is an example of why we have to have either like good discourse about art, but that's really aided by good criticism with a dialectic that finds a way through all of this stuff and educates viewers such as myself, you know, And I think bad criticism, cowardly criticism, if I'm being honest, is the kind of critique that says, well, you know, there's violence against a woman in this film, so it must be bad and we shouldn't watch it.
So if a kind of binary situation where you're kind of suggesting that, anyone who watches the film is somehow in favour of violence against women or, you know, the violent suppression of mentally ill people in general.
Whereas, you know, I'd say watching the film now in 2026, I'd say it's self-evidently made by people who at least have thought very deeply about what they're doing.
So I think it's more helpful to ask if films like this are holding up a mirror to the society that they live in.
And if you ask those questions, suddenly you're thinking, maybe on a deeper level, you'd be thinking, well, does Zorg learn something about this? Because in the preposterous subplot, and it's the thing I always hated in the 80s, was the whole cross-dressing aspect of this film.
If he is about to come to some sort of, like, realisation, he certainly realises that no-one pays him any attention when he's dressed as a woman, and that's why he goes back to it to break into the hospital to kill Betty.
So I do think there's something a little bit... deeper and more subtle going on in this film, even though I still find it fairly problematic.
Well, the sex and, you know, its kind of close relationship to violence in this film and mental illness... is I, you know, I'm sorry if this sounds like a cop out, but I think yet again, I think this is an example of why we have to have either like good discourse about art, but that's really aided by good criticism with a dialectic that finds a way through all of this stuff and educates viewers such as myself, you know, And I think bad criticism, cowardly criticism, if I'm being honest, is the kind of critique that says, well, you know, there's violence against a woman in this film, so it must be bad and we shouldn't watch it.
So if a kind of binary situation where you're kind of suggesting that, anyone who watches the film is somehow in favour of violence against women or, you know, the violent suppression of mentally ill people in general.
Whereas, you know, I'd say watching the film now in 2026, I'd say it's self-evidently made by people who at least have thought very deeply about what they're doing.
So I think it's more helpful to ask if films like this are holding up a mirror to the society that they live in.
And if you ask those questions, suddenly you're thinking, maybe on a deeper level, you'd be thinking, well, does Zorg learn something about this? Because in the preposterous subplot, and it's the thing I always hated in the 80s, was the whole cross-dressing aspect of this film.
If he is about to come to some sort of, like, realisation, he certainly realises that no-one pays him any attention when he's dressed as a woman, and that's why he goes back to it to break into the hospital to kill Betty.
So I do think there's something a little bit... deeper and more subtle going on in this film, even though I still find it fairly problematic.
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