ABSTRACT
The Living End targets everything from cultural products such as genre films to the Bush Administration’s anti-gay policies, squeezing the symbolic structures we take for granted until they crack, requiring utopic resolutions to be imagined in the manner described by Marin. But, where it excels in challenging the homophobia of patriarchy, The Living End disappoints in its assent to misogyny. Fredric Jameson’s comment that “ideological commitment is not first and foremost a matter of moral choice but of the taking of sides in a struggle between embattled groups” reminds us that attention to liberatory subject-positions based on gender as well as sexual freedom need be an important goal for the next generation of revisionary road films (290).
