Drawing on Elizabeth Martínez’s notion of “oppression Olympics,” I wanted to examine how the culture of competitive suffering has evolved in a hyper-mediated age, where vulnerability itself can be leveraged for social or institutional capital. Late-stage capitalism has found a way to package pain and identity as consumable spectacle, and in doing so, can often replace empathy with comparison, replace solidarity with self-display. The brief AI sequence at the film’s closing, in which a glitching simulacrum of Liv continually changes form, visualizes this phenomenon: her identity dissolves as her pain becomes mass-produced, flattening complex experience into something scalable and templated.