This article contains Large spoilers for "companion".

Gender conflict, violence and terror are inserted into the horror fabric. Vampires in search of brides, dams in trouble to be preserved, "Hitchcock blondes", and masked cats hacking scarce dressed babies and camp advisors are the main places of the genre, and the huge majority of horror -starring are or exploited or exploit. investigate, or submit expectations of gender -based violence. However, as the theorist of the film, Carol J. Delvina, so perfectly explained in her essay. "Her body, himself: gender in the weak film"When it comes to horror," gender is less Wallid than a permeable membrane. "

Horror films are rich in cross -identification, and psychologically theorizing that horror fans have greater capacity for empathy. Therefore, men with CIS see a movie as "strangers" and easily identify Ellen Ripley as the coolest character without even believing it is "less than" about what a woman is, and why CIS women can watch a movie like "The Thing" And to see themselves reflected in the hyper-masculin (and glorious beard) RJ Macrey. Given the formula do-or die on the stories of the survival of the genre, horror provides us with all the safe output to flex our muscles with compassion and learn to identify with the characters we want to see survivors who may not always look like us .

In Drew Hancock's fantastic techno-thriller "companion" (Read our review here), Iris on Sophie Thatcher goes on weekend with his boyfriend Oshoshek (Jackec Kwaid) - as well as their friends of doubles Eli (Harvey Gillen) and his boyfriend Patrick (Lucas Gage) and Kat (Megan Suri) and her Sergei Sergey Sergey (friend of Rupert) - just to find out that she is actually a companion of Oshosh and all the "memories" of their lives together (and her life before him) is nothing more than programming. Instead of falling into the stereotypical traps of the story of "Robot Uprising", "companion" is far more interested in telling a story of bodily autonomy And examining the providence of pathetic, insecure men like Oshosh and the way they treat women - artificial or not.

The biggest shock of the film was fortunate. Also The companion bot and that he is known to be a robot for a long time. But that is when Oshos chooses Also Dehumanize Patrick in its fight against Iris that the most fascinating gender policy of the film comes into play.

The screw tissue between misogyny and homophobia towards gay men is much stronger than many understands. Throughout history through many cultures, the hatred and oppression of gay men has been rooted in the perceived similarities that gay men had for women. Common rods like "Pansi", "Fairy Tale" and "Sisi" are words used to evoke femininity as an insult, with an even more frequent "fruit" singer originally used to describe female sex workers. Written a lot about the Kindred relationship that many gay men find In the last character of a girlThey are usually summarized in the common experience that gay men have with women - trying to survive an oppressive, patriarchal world who loves them obedient ... or dead. Discovering Patrick as another robot, the "companion" co-releases the intersection between misogyny and homophobia and does it with blood instead of ink by displaying the treatment of Oshosh for both.

Oshoshos admits he bought Iris because he believes he "deserves" a lot in life than the one he has. He deliberately restricted her intelligence to 40%, and while claiming to have had "fun times" with her, he had no problem with jailbreaking to set her up for murder so she could escape millions of dollars. He wanted an obedient piece of candy with a hand that was unable to lie, calling on his shortcomings or to reject his sexual progress, and when he was presented to him a better opportunity (killing Sergei and stole his wealth), he was happy Allow Iris to take over and probably be lifted for parts.

In contrast, Eli is legitimate for Lovebuben in Patrick, and the couple was originally not included in Jos and Kat's plan. They just got up as soon as Eli realized they would get millions if they helped subdue Iris, and Eli fought for Patrick to have a stake, though neither Josh nor the floor considered "considered". The fact that Patrick is the robot is not important to Eli, because he really loves him. Patrick admits he realized that he was a robot a long time ago, but he was not so destroyed to admit it to Eli, because Iris learned about it from Oshosh because he knows that Eli's Love Cub is back and real.

The "companion" villain is not all men, just with Hoda as Oshosha who long for control, treat people they consider "under them" as one -time use and just think about themselves.

Oshosh shows its true colors before it is revealed that Iris and Patrick are robots. He constantly tells Iris how to appear or behave (this does not even take into account how he deliberately programmed her appearance/intelligence/voice/etc.), he constantly insults Eli under the guise of "jokes", and He is so clear in Loveubo with a floor and bitter for what he did not want to do the whole world of the world. When his plan breaks down after Iris escapes and the situation escalates (and deteriorates), that is when his real colors really begin to exclude from his exterior "AW, Shucks".

Iris accidentally kills Eli while fighting for a gun, even after the floor is ready to admit defeat, oshos jailbreaks and ties Himself Patrick's heart attack to be able to use it to clear his responsibility and responsibility for the skirt. When the floor is ready for bail, he screams and barking orders, motivating her to remind him that he is no The robot and that it cannot control it. (He retaliates by killing Patrick.) When Patrick successfully follows Iris and returns her home, rather than just shutting her down and doing it, he torments her for his entertainment. When he lies to the company coming to gather the "defective" iris, he even concrete a lie to him and the floor having "the will-do, there is no" tension as his judgment for Iris's "dysfunctional" are in the head.

At every turn, Oshos accuses everything and all of its shortcomings and impossible obstacles to obstacles, rather than looking inward for a moment and realizing that maybe, maybe, Only maybeHe has some internal problems to work with. From the trailers it was easy to predict that oshosh is another megalomaniac hoopy masked as a handsome man, but his treatment with Patrick is a reminder that guys like oshos do not hate women, they hate they hate All They think they are "better" than, especially those in the immediate vicinity of "femininity".

And, as the film rightly reminds us, the way of thinking of Oshoshos is not just okay, it's Dead Wrong.