Emma and Christy watch David Cronenberg’s 2022 film Crimes of the Future, exploring the themes of this work while also connecting to some of the director’s earlier movies. In this episode, we discuss the fears and the pleasures of the human body and cutting into it; surgery as sex; Cronenbergian body horror; the monstrous as art; being and becoming cyborgs; evolution and pain; technology as prosthesis; the posthuman; contemporary performance art (good and bad); the cosmetic gaze; the body as text; and meaning making. CLICK HERE TO VIEW THE IMAGES WE DISCUSS, as well as complete show notes, references, and suggestions for further reading. MEDIA DISCUSSED David Cronenberg, dir., Crimes of the Future (2022) First scene with boy playing on beach, cruise ship overturned in water Saul Tenser in the Orchid Bed TVs showing ‘BODY IS REALITY’ during Saul and Caprice’s performance Scuttling, insect-like bureaucrats of the National Organ Registry Bureaucrat of the National Organ Registry telling Saul that ‘surgery is new sex’ David Cronenberg, dir., Crash (1996) Saul Tenser in the BreakFaster Chair Saul Tenser’s facial expression at the end of the film Gian Lorenzo Bernini, The Ecstasy of Saint Theresa (1652) David Cronenberg, dir., Videodrome (1983) The hand-gun in Videodrome David Cronenberg, dir., The Fly (1986) Odile (decorative surgery) performance art Klinek (ear man) performance art ORLAN, The Reincarnation of Saint Orlan (1990-1993) Stelarc, Ear on Arm (2007 - ) The Swan reality show (2004) The autopsy scene  Follow our Twitter @drawingblood_ Follow our Blue Sky @drawingbloodpod.bsky.social ‘Drawing Blood’ cover art © Emma Merkling, image courtesy of the British Association of Plastic, Reconstructive, and Aesthetic Surgeons All audio content © Emma Merkling and Christy Slobogin Intro music: ‘There Will Be Blood’ by Kim Petras, © BunHead Records 2019. We’re still trying to get hold of permissions for this song – Kim Petras text us back!!