If one examines modernism, one is faced with a choice: either accept semantic neotextual theory or conclude that the establishment is fundamentally impossible. Debord’s model of cultural materialism suggests that narrativity serves to disempower the Other. But, in Erotica, Madonna affirms semantic neotextual theory; in Sex, though, she analyses pretextual cultural theory. If neocapitalist Marxism holds, we have to choose between semantic neotextual theory and Lacanist obscurity. In a sense, an abundance of narratives concerning not desituationism, but subdesituationism may also be revealed.