“Woke” and cancel culture have become mainstream methods for ideological leftists to express their sense of hopelessness and frustration. And while many agree that improving social harmony is an admirable goal, policing the use of pronouns while carefully maintaining the status quo of capitalism’s production, destruction and inequality does little to address the underlying structural problems that create the conditions for social disharmony. It is on this point that Žižek finds agreement with commentators on the ideological right. But at both (...) ends of the ideological spectrum we find little to hope for. This paper is about what happens when important discussions are hijacked by extremists on both ends of the political spectrum. Surely, there must be more than politically correct totalitarianism and the irrational outbursts of conspiratorial fanatics. As Žižek has long argued, we should, perhaps, hold out for the worst option in the hope that real change might still be possible. I make this case with reference to popular events and culture, and a wide array of Žižek’s scholarly and popular works. (shrink)

Žižek has asked us to consider when we should care about the _tyrant’s bloody robes_. He was asking whether we should show restraint in responding to terrible injustice. The unsettling depiction of ‘Joker’ in Todd Phillips’ (2019) film of the same name goes some way to answering this question. We witness in this film a Joker unlike the many others we had seen in the Batman cinematic universe. Arthur Fleck is not a villain, at least not when he sets out (...) to live in our world. In his own words, he is just a man with ‘nothing left to lose’ living a life that has become ‘nothing but a comedy’. He is not the chaos spreading sociopath depicted in _The Dark Knight_ (2008). He is a man with a mental health condition. An outcast. Pushed around by society until he decided to do something about it. But why is a vigilante in a bat mask acceptable, but one in clown make-up is not? Maybe our traditional understandings of “right” and “wrong” and our childish cultural tropes about “good” and “evil” no longer serve us as they should when our heroes are greedy corporatists and our villains are the marginalised, disabled and mentally ill. Could it be that the Batman stories we have heard since we were children are designed to make us fret about the tyrant’s bloody robes? In this paper I explore Žižek’s analysis of Joker alongside his accounts of surplus-enjoyment with particular reference to Arthur Fleck’s life whilst living with a disability. (shrink)

Slovenian philosopher and psychoanalyst Slavoj Zizek explains with joke violence make a link between obvious violence and hidden violence. Subjective violence confronts on the television news with its often graphic coverage of wars, murders, assaults, and terrorism. When violence is objective it is less visible, operating under the surface, and is rarely, if ever, featured on the news. The city of Vinci is a place where corruption, immorality, and violence are so commonplace that they are not only tolerated also considered (...) essential parts of life in this forgotten slice of humanity's seedy underbelly. Gangsters, prostitutes, drugs, crooked cops. Frank Semyon is a gangster. Frank is betrayed by the gangsters he trusts, and the city administrator who was responsible for facilitating the land investment goes missing. Through these characters, True Detective taps into the whole system of violence that characterizes the United States—the violence and criminality of international wars. (shrink)