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<p>This article formally exemplifies the doubling, fragmentation, and structural dissonance characteristic of our society and Ripley. The first section is a theoretical analysis of horror as engaging the void and an exposure to what Heidegger calls the <i>Riß</i>. Patricia Highsmith’s Ripley is reborn as a monster for our era in Steven Zaillian’s miniseries. Horror figures like Ripley show how Heidegger’s idea that we “go sit in a graveyard” to be in touch with <i>Dasein</i> can backfire. Instead of experiencing finitude as an exposure to real abjection and death, the graveyard has become a metaverse and virtual backyard of groupthink, e.g., zombie trolling, undead social media profiles, artificial intelligence and cyber swindlers. The last section discusses patients who aspire to be Ripley as an ideal ego and turn their back on subjective lack and difference as a defense against castration and the real. We end the essay with some “riffs,” which are reflections on the contemporary clinic of narcissism and its imaginary fixture.</p>

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Serial Ripley

  • 期刊论文

  • 发表日期：

    2026年5月22日

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  • Jessica Datema,
  • Manya Steinkoler

摘要

This article formally exemplifies the doubling, fragmentation, and structural dissonance characteristic of our society and Ripley. The first section is a theoretical analysis of horror as engaging the void and an exposure to what Heidegger calls the Riß. Patricia Highsmith’s Ripley is reborn as a monster for our era in Steven Zaillian’s miniseries. Horror figures like Ripley show how Heidegger’s idea that we “go sit in a graveyard” to be in touch with Dasein can backfire. Instead of experiencing finitude as an exposure to real abjection and death, the graveyard has become a metaverse and virtual backyard of groupthink, e.g., zombie trolling, undead social media profiles, artificial intelligence and cyber swindlers. The last section discusses patients who aspire to be Ripley as an ideal ego and turn their back on subjective lack and difference as a defense against castration and the real. We end the essay with some “riffs,” which are reflections on the contemporary clinic of narcissism and its imaginary fixture.