security, comfort, and sexual passitivity". This brand of post-feminism ties into "commodities that call for and support constant body maintenance (femininity)". Marla Singer finds her commodities in others' laundry or thrift stores, so "she transgresses both through her sexual appetites and her flaunting of the consumption-oriented conventions of femininity". Slumming trauma Keith Gandal defines Fight Club as a "slumming trauma" in the sense that it falls between the genres of the sentimental slumming drama and the trauma film. Sentimental slumming dramas avoid "the sordid" and "degraded environment and social interactions". They contain "wholesome" heroes, who and whose counterparts usually have "young, beautiful faces and bodies" that do not bruise or do recover easily from bruising. Examples of sentimental slumming dramas include Titanic, Shakespeare in Love, and Forrest Gump. In contrast, trauma films have "a penchant for disfigurement and disease", and they exhibit "blasted" nihilism in which the films' characters are paralyzed by trauma and even become "traumatizers" themselves. Examples of trauma films include Gummo, Kids, and Welcome to the Dollhouse. While Fight Club expresses "radical" slumming notions through lines like, "Only when you've lost everything are you free to do anything," the film is hostile to sentimental slumming. Gandal writes of the film's perception, "Sentimentalism is an insidious lie that denies the realities of human life and the human body as it promises a fairy-tale experience that doesn't exist." Additionally, one of Fight Clubs main characters, Tyler Durden, advocates methods of "self-actualization and self-discovery", which are radical compared to those of "wholesome" heroes. While slumming dramas avoid physically degraded conditions, Fight Club embraces the conditions in a manner that "mystifies and romanticizes the sordid". This approach differentiates from trauma films' approach of these conditions. Instead of the characters being paralyzed by traumas, the traumas are "romantic" traumas that "shake people awake and remind them that they are alive and full of possibility". Through fight clubs, "the desecrated body is a central image in slumming trauma" with injuries being fetishes in the genre. The romanticism is a paradox in the slumming trauma genre; the characters identify with decay as "purifying" and identify with the degraded as "transcendent". The paradox is unstable; there are suggestions of "humiliation and self-loathing". The love object Marla Singer accuses the narrator of having "serious emotional problems", and there is anger among fight club members that they will not be "millionaires and movie gods and rock stars".