Fake Taxi Misunderstanding

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  • Emiliano Girina's avatar Artist
    Emiliano G...
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More about Fake Taxi Misunderstanding

Pornography is routinely asked to carry a burden it was never designed to bear. It is treated as if it were a teacher, a manual, a moral guide, when in reality it is a form of entertainment—stylized, exaggerated, scripted, edited, and engineered to provoke reaction rather than reflection. Expecting it to explain intimacy is like expecting an action blockbuster to explain diplomacy. The Avengers do not teach us how conflicts are resolved in the real world; they teach us how spectacle works. Pornography operates by the same logic.

Pornographic cinema does not want to educate anyone. It does not pretend to be a course in sexual education, and it certainly does not aim to be a model of emotional literacy or relational ethics. Its language is visual fantasy, not lived experience. Bodies are idealized, reactions amplified, time compressed, consequences erased. What is shown is not how sex normally unfolds between consenting adults, but how desire can be dramatized for the screen. Confusing the two is a category error, not a failure of the medium itself.

Yet it is far too convenient to point the finger at the industry and stop there. Blaming images is easier than looking in the mirror. When pornography becomes a surrogate teacher, it is not because it asked to be one, but because something else was absent. Emotional education, civic education of feelings, and sexual education are slow, human processes. They require language, trust, embarrassment, repetition, and presence. They begin at home. They are shaped by families long before screens enter the room.

This responsibility cannot simply be outsourced. Third parties—schools, professionals, institutions—can support, clarify, and help in difficult cases. They can never fully replace the role of the family without leaving a vacuum. When that vacuum appears, it is inevitably filled by whatever is most accessible, most immediate, and most visually compelling. Pornography then becomes not the cause, but the symptom.

The real issue is not that pornography exists, but that too many people grow up without the tools to contextualize it. Without guidance, fantasy masquerades as instruction. With guidance, it is recognized for what it is: fiction, performance, entertainment. The task, then, is not censorship by scapegoating, but education rooted in responsibility. Not moral panic, but emotional literacy. A culture that can explain the difference between a movie and a life does not need to fear images. It needs to take ownership of the conversations it postponed for too long.

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