Paul Verhoeven’s 1987 sci-fi action film Robocop, featuring killer robots, explosive blood baths, and face melting toxic waste, can be used as a surprisingly thoughtful object in studying Otherness. The ludicrous premise – a cop who is killed and then resurrected as a cyborg only to seek vengeance on those who wronged him – is indicative of the excessive entertainment typical of the 1980s. Despite associations with 80s machismo and hegemonic masculinity, Robocop asserts its value as a cultural product in two seemingly contradictory ways. The first is its cheeky, satirical tone, which embraces the silly aspects of the film’s universe. The acts of the movie are divided by cheery local news reports about the dystopian future and ads for outlandish Cold War inspired products such as “Nuke ‘Em,” a family board game about mutually assured destruction. These elements seem to convey that this cheesy action flick does not take itself too seriously and, with the metatextual commercials, contextualizes itself within low culture objects such as a TV movie of the week. Despite these connotations, the film provides rich areas of analysis in its plotting and character development. Robocop (Peter Weller) is a human-like character. He struggles against his own body, mind, and the system that both created and failed him in order to reclaim his identity. In fact, Murphy (Robocop’s original human name, used throughout this paper to accentuate his character arc) embodies the disabled experience of re-articulating a post-diagnosis identity outside of medical codification and negotiating a system designed for the masses through support and accessibility accommodations. In the character of Murphy, Robocop offers representations of physical disability and invisible passing neurodivergent conditions (such as dementia, cognitive and processing disabilities, and mental illness). Both as a blockbuster loaded with a pastiche of goofy, gory violence, and as an allegory concerning the personhood and identity of the atypical body and brain, Robocop as a film could be considered a cyborg in itself.