The article explores the Netflix series The Hunting Wives as a reflection of American right-wing authoritarianism, described as libidinally charged and reveling in chaos. The narrative follows a group of wealthy white women in Texas who indulge in violence, sexual transgression, and conservative politics, contrasting these behaviors with the struggles of the show’s progressive protagonist, Sophie.
Historian Dagmar Herzog’s concept of “postmodern fascism,” outlined in her book The New Fascist Body, underpins the series’ themes. Herzog delineates postmodern fascism’s characteristics, such as its disdain for equality and vulnerability, and its self-reflexive nature that complicates the truth. In examining contemporary far-right movements, she highlights two traits: “sexy racism” and hostility toward the disabled, drawing parallels between German and American fascism rooted in nationalism, IQ obsession, and anti-disability rhetoric.
Herzog emphasizes a shift in rhetoric that allows far-right parties to set the political agenda, reintroducing ideas like “remigration” that mainstream politicians reluctantly engage with. The article asserts that fascism extends beyond repression, offering adherents a sense of pleasure through aggression and the breaking of societal norms. This is illustrated by The Hunting Wives, which portrays transgression as a gateway to fascism for its characters.
Ultimately, while Herzog’s insights are compelling in understanding the emotional undercurrents driving right-wing support, the article calls for strategies to redirect these energies towards community and care, instead of cruelty and violence.
