Key Highlights
- Riley Gaines has built her career around a single incident in college.
- The trans panic movement is compared to the Satanic panic of the 1980s, rooted in horror films like “The Exorcist.”
- Gaines presents herself as a victim, aligning with the trope of the demon-terrorized child.
- The article argues that Gaines’ narrative relies on emotional imagery rather than facts.
Riley Gaines: A Career Built on Trans Panic
Former swimmer Riley Gaines has become a prominent figure in the MAGA movement, advocating against trans women in sports. However, her story is rooted in a single incident during college when she tied for fifth place at the NCAA swimming championship in 2022.
A Career as a Victim
Gaines portrays this moment as shattering her “dreams,” though most would not use such dramatic language for merely tying for fifth place. Her narrative has evolved into a career focused on eradicating trans women from sports and opposing trans rights altogether. She draws comparisons to rapists, pedophiles, and even aligns queer rights with Satanism.
The Trans Panic Movement
The article explores how the trans panic currently gripping the Christian right is an extension of the Satanic panic that took hold in the 1980s. This worldview is rooted in the visual and emotional language of horror films, particularly those depicting demonic possession such as “The Exorcist” and “The Conjuring.”
Evoking the Innocence Trope
Gaines fits the trope of a young, helpless woman threatened by demonic forces. She favors girlish clothing and avoids presenting herself as strong or capable, emphasizing her athletic achievements through photos that highlight her “cute” appearance. Her portrayal is seen as childlike, even though she is 25 years old.
The Role of Horror Films
Professor Joseph Laycock from religious studies and Eric Harrelson from film expertise document how the Satanic panic of the 1970s and 1980s grew out of horror films like “Rosemary’s Baby,” “The Omen,” and “The Exorcist.” The Christian right’s fears of demons are driven by Hollywood, not historical traditions.
Modern Fears
The article notes that while mainstream America has moved on from these fears, the Christian right still believes in dark magic being all around us. Recent films like “The Conjuring” and social media discussions about devils and witchcraft have fueled this belief. The target of their fear has shifted to LGBTQ people, especially trans individuals.
Conclusion
Gaines’ ability to evoke the victim narrative depends on her appearance and presentation. By tapping into the subconscious imagery from horror films, she aligns with a movement that uses emotional language over facts. Her story is rooted in fantasy rather than reality, making it difficult to counter without addressing the underlying beliefs and emotional triggers.
