This week, Neal and Lauren dig deep—into Detroit’s dystopian futures and the defiant symbolism of a pink dress on the border between two worlds. From cyborg vengeance and squib-splattered satire to political identity and anti-colonial resistance, this episode is about the body: armored, wounded, and framed for revolution.

Neal takes the first swing (and squib) with a dive into RoboCop (1987), Paul Verhoeven’s ultraviolent, ultra-satirical sci-fi cult classic set in a future Detroit teetering on collapse. Come for the gunslinger-cyborg revenge story, stay for the commentary on Reaganomics, privatized policing, Nazi propaganda, and a Walkman loaded with Peter Gabriel. Learn how director Verhoeven’s childhood under Nazi occupation shaped his explosive style—and why RoboCop is both an American Jesus and corporate cautionary tale.

Then Lauren paints a political portrait—literally—by unpacking Self-Portrait on the Border Between Mexico and the United States (1932) by Frida Kahlo. In this often-overlooked work housed at the Detroit Institute of Arts, Frida dons a blush pink dress (out of character, but not out of context) and straddles cultural, national, and personal lines. From ancient Aztec ruins and industrial smokestacks to electric roots and subtle rebellion, this piece is a masterclass in using art as a weapon—and a warning. Also: unibrows, impalement, and political feminism done Frida’s way.

Neal's Topic:

RoboCop (1987)

Directed by Paul Verhoeven

Lauren's Topic:

Self-Portrait on the Border Between Mexico and the United States

(1932)

Frida Kahlo

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