This image aligns with Adams’ argument that the objectification and subjugation of women are deeply tied to patriarchal dominance. The text in the image “Hey, b*tch. We control your bodies.”—reflects a blatant assertion of patriarchal power, reinforcing Adams’ critique of how men assume ownership over women’s autonomy. The smug expression and setting, filled with nationalist symbolism, further suggest a connection between political ideology and the enforcement of gendered control. Adams argues that patriarchal societies not only normalize but celebrate dominance over marginalized bodies—whether human or nonhuman—which is exemplified in this image through both rhetoric and demeanor.

Kemmerer uses a direct quote from Adams which sums this picture in whole, Adams coins the term ‘anthropornography’: “the depiction of nonhuman animals as whores” (p.109)” Adams also argues that patriarchal culture constructs both women and nonhuman animals as consumable objects. This mural exemplifies that by merging female sexuality with the meat industry, reinforcing the link between objectification and consumption. The pig, dressed in tight shorts and high heels, is feminized and sexualized, creating an unsettling overlap between the animal as food and as a gendered object of desire. Furthermore, the slogan “Best Butts in Georgia” reinforces the idea that both women’s bodies and animal flesh are meant for male consumption and pleasure. This reflects what Adams calls the “absent referent” the way the actual suffering and slaughter of animals is erased through humor.

Adams’ work critiques the way patriarchal cultures metaphorically and literally consume both women and animals. This cartoon aligns with her analysis of how female animal bodies are frequently used to symbolize broader social and political concerns. The animal is depicted as an exploited, exhausted maternal figure, with piglets representing vital public services draining her. This visual reinforces a narrative of depletion and overburdening, suggesting that Brexit is draining these crucial sectors rather than nourishing them. This image can also be tied to Adams’ concept of the “absent referent.” While the pig is used as a stand-in for Brexit’s impact, the actual lived experiences of both pigs and women are erased. The cartoon uses the animal as a vehicle for political critique without engaging with the implications of using female animal bodies as symbols of societal suffering.

This advertisement from Carl’s Jr. aligns closely with Carol J. Adams’ The Sexual Politics of Meat, as analyzed by Annie Potts, in its use of gendered imagery to market meat consumption. Adams argues that in patriarchal cultures, women and animals are frequently objectified in parallel ways—both reduced to consumable objects meant for male pleasure. This ad exemplifies that concept through the hyper-sexualized portrayal of a woman in a revealing bikini, holding a large, greasy burger. Adams contends that advertisements like this reinforce the idea that both women and meat are objects of male desire. The positioning of the model gazing directly at the viewer, with her body displayed mirrors the way the burger itself is presented and meant to be devoured. This aligns with Adams’ theory that women and meat are often conflated in media to reinforce patriarchal structures, where both are commodified and consumed under the guise of pleasure and power.