“We Are Pat” (2025): Reclaiming a Controversial 90s Icon
Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.

Returning to her home town, overwhelmed by the birth of her firstborn, nineteen-year-old Chloe van Heerden tries to come to terms with motherhood. Despite the support from her own mother, Chloe struggles with the demands of caring for a newborn child. The incessant crying of her baby, the growing sense of guilt and paranoia send her into a dark depression. With a heightened urge to protect her son, she sees danger everywhere.
Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.
I hadn’t heard of it either until recently—and yet, it’s one of the highest grossing movies of all time.
For anyone who is not a cis white woman, a justice-fueled murderous rampage is not framed as liberation. Instead, they contribute to harsh stereotypes that vilify minority women with dangerous consequences.
The character of Mulan is one of Disney’s best heroines. She’s brave, kicks butt, and has a kill count. What other Disney character has killed hundreds of Huns by crushing them with an avalanche? No one.
Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.
If a movie about a strange and crazy day is commercially successful, why not recycle it and double the kookiness quotient? That seems to be the logic behind this followup to Freaky Friday.