Research and notes for the film are included in the text, Sex Without Threat, which registers the ubiquity of the internet-as-divination-system as a given, and considers the contemporary surveillance era alongside the calcified form of life of a mid-20th century woman, her interior self a split performance for attention and validation. In direct response to this political and internal crisis, the text coyly posits the possibilities of using the feminist strategies of imitation and subversion as antidote. The text further pairs the context of post-war Los Angeles (when Adorno is writing) with present-day Los Angeles and Athens, and contains a short interview with artist, trans-activist and filmmaker Paola Revenioti (who performs in the film as a pythia of Apollo). As Paola returns from Lesbos, Greece where she is making two films and volunteering aid, the EU ignores its status and duties as signatories of the 1951 Refugee Convention—Sex Without Threat also attempts to make the comparison between 2016 EU and the fascism/pseudo-rationalism Adorno relentlessly and carefully foments upon and pin-points in 1950s California.