Abstract
ABSTRACT This essay argues that Steven Soderbergh’s 2009–2012 films – The Girlfriend Experience (2009), Haywire (2011) and Magic Mike (2012) – form a loose trilogy depicting the plight of the working class (or precariat) during the Great Recession Linking textual analysis to the economic downturn reveals Soderbergh’s significant critique about this period, ultimately causing him to announce his retirement. His protagonists’ predicaments are the same as contract workers in the new, neoliberal economy, including the creative class in conglomerate Hollywood.
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