ACE in 35 mm: Ghosts, Gods, and Phlegmatic Gentlemen

“We’re all stars, and we deserve to twinkle.”

—Marilyn Monroe.

 

Does the ACE community have representation in cinema and television series?
 
 
This is not a new question; but it is certainly a recurring one. It is not unusual to find conversations on this topic in forums such as AVEN or on social media. The interest of any person or collective in having representation in the audiovisual medium is evident and natural. All of us, in one way or another, encounter this question at some point in our lives or during our process of self-recognition as ACE individuals. My case was no different.
 
On one occasion, I was browsing posts in an asexual Facebook group. By chance, I came across a post by someone who had asked this very question. They commented that, apart from Sherlock Holmes —a recurring figure within the community— and a few others, they had not found many fictional characters —clearly or hypothetically— who were asexual. That question resonated in my mind for several days, until I came across a curious and, I believe, little-known case.
 
I am referring to the Ghost in the Shell saga, which I will discuss in the following paragraphs. I also came across the case of Neon Genesis: Evangelion, which I will mention as well. Curiously, these are my two favourite anime —for a reason, perhaps—; but from that moment on, I began to look at them with new eyes… What a surprise —and what joy— it was to discover that some of the characters in these sagas were ACE!
 
First, I would like to comment on my reflections regarding Ghost in the Shell and Evangelion. Later on, I will return to Sherlock Holmes and one of the classic actors who portrayed him: Peter Cushing.
 
From there, I will develop some reflections that have emerged in my mind. I will also talk, briefly, about other characters and personalities from the world of cinema, both classic and modern. Finally, I will bring up the curious case of a classic and world-famous actress who will surprise more than one person… Once again, curious coincidences, since Peter Cushing and this actress —whom, for now, I will keep anonymous— are my favourites of all time.
 
With this brief article, my intention is not to rediscover anything, but rather to contribute some novel cases, as well as a bit of reflection for the ACE community, which is always the most important thing. That said, let us begin.
 

1. Of Ghosts, Gods, and Machines

 
First of all, when speaking about ACE characters or behaviours in Ghost in the Shell, I am referring mainly —though not exclusively— to full-body cyborgs, and specifically to the main protagonists: Major Motoko Kusanagi and Batō the Ranger. The evidence I have found is present mainly in the series Arise and Stand Alone Complex (SAC).
 
In one episode of Arise, we see that Motoko has a boyfriend. From what is mentioned, he is a full-body cyborg too. On several occasions, Motoko and her boyfriend are lying in bed together, even unclothed; but they do not have sexual relations. Instead, they connect through their neuro-connectors —the cables at the back of their necks— thus sharing an intimate experience in their mental world. This intimate experience is not “mental sex” —this is never shown in the saga— but rather a fusion of ghosts, a fusion of consciousnesses. This, in a way, exemplifies the desire for deep, platonic mental attunement or connection felt by many ACE people, or even the desire for spiritual fusion or transcendence through the other.
 
In the second season of Stand Alone Complex, there is an episode in which it is explicitly stated that full-body cyborgs, such as Batō —and perhaps Motoko as well— do not have sexual organs. It is Batō himself who makes this statement. In that same episode, there is a scene in which another cyborg character appears unclothed, and we explicitly see that he has no sexual organs. This confirms the thesis that full-body cyborgs carry out their intimate connections on a non-sexual plane, through mental attunement or the fusion of ghosts.
 
Also in the second season, there is another episode in which the Section 9 team is on a mission, during which an old pervert makes sexual suggestions to Motoko. She, disguising her disgust, inserts her neuro-connector into the old man’s neck to render him unconscious —this was part of the mission— while telling him ironically, in summary, that “I’d better stop here, because you’d have a heart attack.” This once again opens up the possibility of “mental sex,” although, as I say, it is never shown in the series.
 
To conclude the Ghost in the Shell section, I cannot fail to mention the final episode of the first season of SAC. In a famous scene, Motoko and Batō hide out in Motoko’s safe house, as they are fleeing from the authorities. Once there, they find themselves almost unclothed, in a rather tense and intimate situation.
 
To shield her from a helicopter passing by the window, Batō pushes Motoko against the wall. She places her hand against his chest. And they remain like that, still, in silence, with a certain tension. But nothing else happens. The situation, in fact, is resolved in a very natural way without losing any intimacy: Batō pulls Motoko’s watch out of his pocket —she had lost it— and gives it back to her. The Ranger tells his friend that he understands her attachment to that watch —it is the object Motoko keeps to remind herself of her humanity—; just as she understands the affection Batō has for his training gadgets.
 
All of this could be evidence that cyborgs, indeed, lacking sexual organs, experience intimacy through neuro-connectors, synchronising their minds or ghosts. In Ghost in the Shell, the main philosophical premise deals precisely with the empty nature of the “self,” with transcending the body, transcending the physical and even the human. Full-body cyborgs do not need sex, but rather a deeper and more spiritual attunement, a connection on an ontological and metaphysical level: they do not seek to experience pleasure, but rather the very nature of the being of the other and within the other. That is to say: the cyborgs of Ghost in the Shell are not only asexual, but could even be described as post-sexual.
 
The Evangelion saga is very much in tune with these ideas, though in a different way. In this case, the quintessential ACE character is the beloved Rei Ayanami —my favourite, unsurprisingly— who represents a complex philosophical conglomerate for the series. First of all —although there are many factors to consider— it can be inferred that Rei is ACE based on her attitude toward others, and specifically toward Shinji. Unlike Asuka, who does display sexual behaviours toward Shinji, Rei does not, despite her evident affection for him.
 
Here, a key point must be highlighted regarding the representation of ACE characters and the methods for recognising them.
 
In general, ACE characters —like most fictional characters— are sexualised or even hypersexualised, since in many cases they are created from an allosexual perspective. This is the case with Rei Ayanami in Evangelion, as well as Motoko Kusanagi in Ghost in the Shell. However, physical sexualisation does not necessarily imply that they are allosexual: it merely reveals the projection of their creators.
 
A person’s sexual orientation is observed in their sexual behaviour or attitudes toward others. Rei does not display any sexual behaviour toward anyone throughout the entire series. And in Motoko’s case, despite certain strange instances in SAC, she does not display allosexual behaviour. She is, among all the Ghost in the Shell characters, the one who most longs for transcendence through the network and the fusion of ghosts as a means of intimacy.
 
To conclude Evangelion, and continuing with the idea of transcendence through the other, it must be noted that Rei is precisely the axis or representation of this transcendence; though not on a technological level, as in Ghost in the Shell, but on an ontological, physical, and spiritual level. Rei symbolises the fusion of humanity, of bodies and souls; that is, following the philosophy of the series itself: the desire for communion beyond physical and emotional barriers —the AT Field—; mutual recognition beyond the ego, beyond the “self.”
 
Because of their relation to all these ideas, androids, robots, cyborgs, and other artificial beings in cinema deserve mention. We could speak of the film The Creator, in which the Simulants —androids with AI who have developed consciousness and emotions— live in harmony with humans, even forming sentimental relationships among them.
 
However, artificial beings would technically fall outside the ACE paradigm, since they are not human and therefore are not sexual beings as we are. Intimacy between synthetic beings does not occur on a sexual plane, but rather a technological one, or through data. Almost like in Ghost in the Shell, but not exactly.
 
As for relationships between humans and machines, the technical term is technosexuality, which, if considered a form of projected autosexuality, could be integrated into asexuality in some way. Still, this is a debate that would require deeper exploration. For now, we will leave it here.
 

2. Phlegmatic and Solitary

 
Continuing our cinematic investigation, we will now turn our attention to Sherlock Holmes —or, more precisely, to Peter Cushing, the actor. While Peter Cushing was not asexual —as far as we know— he represents a very specific sort of actor and person: the English gentleman, phlegmatic and impeccably polite.
 
Cushing, like the great Christopher Lee, was a man of his time, with clearly defined moral principles and a code of conduct. The true gentleman is not misogynistic nor does he follow outdated behaviours; rather, he is socially kind and courteous, and this manner of social conduct includes sexual respect toward others.
 
In no film will one see Peter Cushing or Christopher Lee being sexually invasive toward anyone, and this is very much an ACE-type behaviour. The only exceptions would be cases in which a different behaviour was required by the role, such as Victor Frankenstein portrayed by Cushing. In this saga (1957), Doctor Frankenstein is an infamous character, a psychopath, who manipulates people at will, even on a sexual level. However, as I say, this role is an exception in the actor’s career.
 
In other films, such as The Mummy (1959), Cushing’s character is married, but at no point is he sexually inappropriate with his wife. Quite the contrary: his sexual behaviour denotes restraint, even in a scene in which he kisses her.
 
The same applies to Christopher Lee, even in films where he plays a villain, such as the Dracula saga.
 
If we speak of English gentlemen, we cannot forget Bill Nighy, who portrayed the brilliant Davy Jones in Pirates of the Caribbean. Also with plenty of English phlegm —plenty of ACE phlegm, one might say— Nighy portrayed Viktor, the iconic villain of the first Underworld film. In this movie, Viktor displays no sexual behaviour toward anyone, nor does he seem particularly interested in it. His presence alone is sufficient.
 
Turning now to the modern world, there would be far too many series and films to discuss in this small and modest article. However, I would like to mention one more case before introducing the special person I have prepared.
 
I am referring to Hirayama, the main character of Perfect Days, a film I recommend if you have not yet seen it. Hirayama is a man in his fifties who, for reasons left to our imagination, has chosen to live in solitude, without disturbances and relatively removed from people, even his own family. Hirayama’s situation is not selfish, nor is it related to any mental disorder or deficiencies in socialisation, but rather stems from an existential decision —or even a necessity.
 
At this point, the ACE identity fits perfectly. Many asexual people find themselves compelled to live their lives in solitude; but, as I say, at its core, this decision is a necessity, not something exactly “forced.” If you are well with yourself, sincerely and honestly, what more do you need? It is neither a deficiency nor something selfish: it is emotional self-sufficiency. ACE people have much to share —experiences, reflections, emotions, affection, etc.— and many of us would like to have someone with whom to share it, but this is not always possible.
 

3. Some Like It Hot

 
We are approaching the end of the article. First of all, I want to make it clear that, like the other cases I have discussed, the one I am about to share is speculative. This means that while we cannot fully confirm the asexuality of these individuals, we can hypothesise and, above all, extract interesting reflections by observing their behaviour.
 
I am speaking of Norma Jeane, better known as Marilyn Monroe.
 
What? The actress who became a universal sex symbol was ACE? It is possible. I base this on the information provided in the book Goddess, by Anthony Summers, which is the best biography written about her to date.
 
In Goddess, Anthony Summers offers a faithful and nearly infallible portrait of Marilyn, including her sexual life, which was always quite strange and, in some cases, even mysterious and traumatic. She herself invented and spread falsehoods about her life, with the clear aim of provoking rumours that would enlarge her legend.
 
However, the conclusion that can be drawn from the account of her sexual life is very clear: she did not enjoy it. According to her own words, poor Norma Jeane was incapable of enjoying herself when she had intimate relations with other people. She even confessed that she almost never reached orgasm, that it was nearly impossible for her.
 
From Summers’ meticulous investigation, it emerges that Marilyn had a rather instrumental relationship with sex. She preferred —according to her own statements— to give pleasure to others; her own pleasure did not interest her. This indifference toward her own pleasure, paradoxically, translated into a tendency toward histrionics, obsession, provocation, and even exhibitionism. All of these behaviours, despite appearances, are common among people who have experienced sexual trauma or who have an instrumental relationship with their own sexuality.
 
The instrumentalisation —or mechanistic view— of the sexual act is often common among some ACE people. Since sex is not relevant in their lives, they see it as an obligation or a burden, even when it comes to solo-sex practices. Personally, I have gone through some situations of this kind, so I can speak from experience.
 
I believe that Marilyn Monroe was ACE; or that, at the very least, she had an unhealthy relationship with her own sexuality, due to unintegrated personal issues, probably related to trauma or her sexual orientation. This, incidentally, is also very common among some people within the ACE community.
 

4. The Reel Comes to an End…

 
In summary: cinema is like a mirror that reflects who we truly are. Both asexual and allosexual people project their deepest desires or tendencies onto the screen. With regard to the ACE community, one can observe a tendency toward the search for deep, respectful relationships —intimate without being invasive— but with a strong transcendental, even spiritual, component.
 
Since the cinematic world has typically been created by allosexual people, it is important to learn how to distinguish between sexualisation and behaviour: ACE characters may appear physically sexualised, even be “victims” of sexual situations, but what truly defines their asexuality is their own actions. Indeed, actions are what define people, and what can be observed is that, just as allosexual behaviours are fully normalised, there are behaviours that could be termed ACE that are also normalised, even if we do not notice them. An evident example of this is so-called “phlegmatic” behaviour, such as restraint, kindness, courtesy, and, ultimately, socially respectful and non-sexually invasive attitudes.
 
Many ACE people must face loneliness. However, this is not because they are antisocial, but due to the obvious difficulties in finding a partner or even a lack of romantic interest. And this is perfectly respectable. Another difficulty some asexual people encounter is the instrumentalisation of sex or their own sexuality. Many prefer to give pleasure to their partners, neglecting their own experience. This is a complex issue that requires further research and the sharing of experiences within the community, but I believe it is important to point it out, as it does occur and deserves to be made visible.
 
 
There are still many ACE films left to shoot. Unfortunately, my reel has run out for now…
 
Look for your reflection on the screen —you may be surprised.

If you want to learn more about asexuality, aromanticism, normativity, and post-sexuality, you can check out my book here: THE ASEXUAL BODY: Beyond Sex as the Norm

Signature:
Sangue Shi
Editor-in-Chief of Loto Negro Magazine
www.lotonegrorevista.blogspot.com
Editor-in-Chief of Sangue Shi Ediciones
www.sangueshiediciones.blogspot.com
Administrator of ACE Post-Sexuality
www.acepostsexuality.blogspot.com