Separated at Draft: M’gann M’orzz from Supergirl and Finn from The Force Awakens
Characters can give you déjà vu. You see them on screen and something about their arc or their backstory strikes you as familiar. You think to yourself, “Hey, haven’t I met you somewhere before?” When two characters (or stories) from different fandoms might as well be the same, we call that ‘separated at draft.’ Like Gene Belcher from Bob’s Burgers and Steven Universe or Asami Sato and Kate Kane. They’re like twins (or triplets) separated at the drafting board instead of at birth, get it? (Shut up, we have great metaphors.)
Just last week, one of my friends pointed out that M’gann M’orzz was Supergirl’s Finn from Star Wars: The Force Awakens. It was an offhand comment, but it stuck with me. The more I thought about it, the more I realized that she was right. M’gann and Finn were basically the same character. I grew even more excited to see M’gann’s arc this season. See, I loved Finn in The Force Awakens (I like him even more than Rey, for whom I have a shit ton of love), so seeing him/his arc brought to life in my current favorite TV show gave me such joy that I needed to share it. Though filled with brokenness and pain, their stories are powerful and uplifting, which is exactly what we need these days. So without further ado, I give you the next installment of Separated at Draft: M’gann M’orzz and Finn.
Skilled Fighters from A Militaristic Society
Beyond sharing an affinity for the color white (white Stormtrooper armor, the White Martians), the societies that raised M’gann and Finn are brutal and militaristic. The First Order and the White Martians raised them to be emotionless, ruthless killers. J’onn claims he has never known a White Martian to show mercy. One might even call what was done to them brainwashing, especially in Finn’s case. But even M’gann was brainwashed in a way. So far as we know it, there were literally no other perspectives but the one her culture had regarding the inferiority of the Green Martians. She was brainwashed by default.
The assumption of superiority is another aspect that these societies share. Both the First Order and the White Martians believe themselves to be inherently better to others and sought to either control or destroy those who did not agree. The militaristic hegemony and totalitarianism apparent when we first meet the First Order differs on the surface from the instinct toward racial destruction that we see from the White Martians. At the same time, the First Order built a sun destroying monstrosity that wiped out a planet, so both seem perfectly willing to use planet-wide destruction and genocide to achieve their ends. That both are coded with Nazi-like features is no accident.
Within these societies, both M’gann and Finn are trained to kill and are highly skilled. From the novel Before the Awakening by Greg Rucka, we learn that Finn was top of his class. He wasn’t just any Stormtrooper, he was the Stormtrooper, the perfect specimen of Stormtrooper training under Captain Phasma. We don’t know much about M’gann’s training or background from Mars yet, but I imagine she wasn’t any old fighter. I assume her story to J’onn was actually about herself, so she was a guard at one of the
concentration internment camps. Moreover, it takes skill not to kill someone in a brutal cage match, especially if the other party is going all out. She holds her own against J’onn, who is no mean fighter himself.
On top of their martial skills, both M’gann and Finn are heirs to powerful abilities that can be used for good or ill. I am a huge proponent of Force Sensitive Finn (you can pry this from my cold, dead hands), meaning that the awakening Kylo Ren felt was probably Finn’s (though perhaps Rey’s as well). Like Rey, Luke, Leia, and Kylo himself (maybe even Han?), Finn must choose which path he will follow: Dark side or Light side. If I’m right about him having the Force, he must now choose how to wield it. M’gann has superhuman powers of flight and strength and can shape-shift as well. As we saw when the White Martian took over Senator Crane, such powers could be used to destroy humanity and other enemies of the White Martians. For both, the powers themselves are neutral, how they use them will determine their fates.
Broke Ranks When Faced with Committing Violence
When faced with the ‘necessity’ of acting within their training and hurting real, living beings, neither could stomach it. Despite their training, they broke ranks. Again from the novel Before the Awakening, we know that Finn hesitated when given the chance to hurt his own fellow trainees. While he did well in simulations, he already evinced a compassion that made Phasma uneasy. Then, when thrown onto a battlefield, Finn is unable to kill the civilians as ordered. Him breaking Poe free and flying away was the last step of a process already in motion for Finn, a disquiet with causing physical harm that could not be ignored.
Likewise, M’gann refused to kill when presented with an order from her superiors.
“One day, a White Martian broke rank and refused a kill order…Uh, she was…different. She smuggled me off, helped me off-world. I never looked back.”—M’gann M’orzz, 2.04 “Survivors”
In retrospect, she’s clearly talking about herself. We also need to remember that, according to both J’onn and M’gann, she was at the worst of the internment camps. A place where guards would shoot people at random to cause panic and laugh as the Green Martians trampled each other. A place where the Green Martians were treated like animals. Rather than dehumanize (demartianize?) them as the rest of her culture did, M’gann refused. Like Finn, she chose to flee rather than commit violence against others.
Subsequently Aligned with the Former Enemies
Upon becoming a hunted refugee on a different planet, both characters align themselves with their former enemies. Make no mistake, neither chose just a different culture from their own, they chose the one that was in fundamental opposition to their own society. M’gann could have picked literally anything else. She’s a shape-shifter. She could have lived as a human on Earth like J’onn did, only she wouldn’t have had to pretend to be a specific individual. She could have blended into human society, disappeared into the masses. Or, if she wanted to live as an alien, she had every other race to choose from. Instead, she chose to become a Green Martian.
Likewise, Finn had an array of options to choose from when he told Rey who he was. Even limiting it to potential careers or backgrounds that would have gotten him trouble with the First Order, he had options. He could have said he was a smuggler or a pilot/crew member on a ship that drifted too far into First Order space and saw things he shouldn’t have. He could have said he was a potential recruit who changed his mind or that his family was being hunted by the First Order for some reason. Instead, he chose the Resistance. He could have just been honoring Poe (and I’ll get to that), but I think there’s more to it.
Think about it. They both were members of a martial society with a clear enemy; both of them broke ranks. It isn’t just that they perceive themselves as standing apart from their home culture, it’s that they see themselves as fundamentally in opposition to it. They both chose to say they were the literal enemies of their society of origin because they see themselves as enemies. Not just defectors but antagonists. It would be like a KGB officer in the Cold War breaking ranks and subsequently identifying as American whenever asked. It isn’t just “I don’t belong there” but “I belong with the other team.” Not just “I am an outcast” but instead “I am an enemy”.
I was tempted to argue that M’gann perceives herself as victimized by her society in some way, which is why she chooses a Green Martian identity. However, upon further reflection, I see it not so much as claiming a persecuted status as an enemy status. She could be hunted down and killed in the same way that the White Martians hunted and killed the Green Martians. Comparing her story to Finn’s makes this distinction clearer, as his choices are much more obvious about claiming enemy status. The First Order isn’t persecuting the Resistance so much as they are at war with them. But to both the First Order and the White Martians, the ‘other side’ is the enemy to be destroyed. A brainwashed former soldier taking up the other team’s mantle is thus defecting to the enemy.
Honoring the Dead
One could even say they are both honoring, memorializing, and grieving some one/thing by their choices. M’gann believed all the Green Martians extinct. What better way for her to show she grieved for them and was ashamed of what her society had done to them than to be one of them on Earth? In this way, M’gann is not so different from J’onn. Both feel responsible for the deaths of others (in M’gann’s case, an entire race) and cope with that by taking on the guise of the people they feel responsible for. J’onn feels responsible for Jeremiah’s death, and quite possibly even for Hank’s. By taking on Hank’s identity and working to transform the DEO, J’onn honors Jeremiah.
M’gann likely has an even more profound sense of guilt and shame because her race completely destroyed another. Alongside perceiving herself as an antagonist to her home culture, then, is the same impulse that drove J’onn to choose Hank’s identity: the mixture of guilt and grief transformed into honoring the dead in whatever way they can. A way of saying, “I will not forget what has been lost.” Although she claims to want to forget, M’gann living and fighting as a Green Martian would be a constant reminder of where she came from and who she is.
Calling herself a Green Martian also seems to be a form of self-flagellation, born of her guilt as well as her desire to honor the dead. This hits home even more so with respect to her choice to join the alien fight club. She’s fighting as survival, but not to make money. She’s punishing herself for surviving by forcing herself to fight over and over again, as J’onn points out. What J’onn fails to recognize, though, is that she doesn’t just have survivors guilt, she has the guilt of being one a White Martian. She, a White Martian, survived when all (but one, as she now knows) of the Green Martian’s didn’t.
Likewise, Finn takes up the mantle of being ‘with the Resistance’ as a way to honor the sacrifice Poe made to save him. He saw what the First Order did to innocent civilians on Jakku and the subsequent brutal torture of Poe Dameron. When he meets Rey, Finn thinks Poe died in the crash. Finn must, at some level, feel responsible for Poe’s death and claims to be with the Resistance in his honor. I don’t know how much guilt plays into Finn’s choice to identify with the Resistance, but I believe there is some measure of it present. Grief and guilt often go together. He broke Poe free only to have him die on impact; that has to haunt him.
They differ in the extent to which they have internalized this experience, however. M’gann’s guilt is more profound than Finn’s. She’s had more time alone (300 years) for her grief, guilt, and ghosts to grow, morphing into the desire to punish herself. Finn meets Rey soon after defecting and since then has not had time to ruminate on his conscience. Perhaps that will come later, who knows. Star Wars is not known as a franchise that permits narratives space for characters to explore their trauma. For now, we can see how the choices these characters made kept the memory of a fallen person and culture alive when they seemed to have been destroyed.
Trying to Survive
Yet there’s a deeper level to their choices. I have seen Finn labeled a coward for running and hiding, for lying about being with the Resistance. I haven’t seen it yet with M’gann, but I’m sure there are those who would interpret her actions in the same way. For me, such an interpretation fundamentally misunderstands the stories being told. For, alongside a perception of being enemies with their former culture and wishing to honor the dead, taking up these identities is also a survival mechanism.
They are fleeing battlegrounds and internment camps, both scenes of blood, death, and violence. Both witnessed atrocities inflicted on innocents: civilian men, women, and children. M’gann fled the dehumanization of an entire race. Finn saw the aftermath of physical and mental torture. They both likely have PTSD.
Even their deceptions were a form of survival. They fear for their own safety. With rigid, militaristic backgrounds, they know that breaking ranks will be severely punished. Aligning themselves with the enemy means that they can find shelter among those with whom they now sympathize. Instead of being handed back to their regimes to face god knows what kind of punishment, they will be taken in and protected. They will not have to worry about being treated with suspicion or labeled a spy. Neither expected to meet another survivor or Resistance fighter so soon, or ever in M’gann’s case. Aligning with the enemy provided both a shield and a form of self-identification that neither character thought would hurt anyone.
In other words, the intent behind the deceit matters. Did they lie? Yes. But it was a lie told to protect themselves, a lie of survival. The intention is not to deceive manipulatively, but to cope with their trauma and survive long enough to get away from the forces that would destroy them, if found.
Choosing Light and Breaking the Cycle of Violence
M’gann M’orzz of Supergirl has a different backstory than her comic book counterpart, the latter of whom was sent away from Mars by her parents during the Civil War to protect her. This change creates a much more powerful narrative. She’s not just any refugee, she’s a defector—like Finn—from a brutal regime in which she refused to partake when given the order to kill. It’s a more complicated and emotionally painful story, but also a more moving one.
Alongside the latent narrative of escaping a militaristic society, their arcs resonate with stories of escaping an abusive home and breaking the cycle of violence, of choosing to flee violence rather than perpetuate it. They made difficult choices that their society would punish them for if they had been discovered. Yet, they chose them anyway. No one dragged or sent them away to protect them, no one berated them into leaving. They saw violence and brutality being carried out and fled. They chose compassion, empathy, light, and healing. They decided that the cycle would end with them, even if no one else chose the same. They chose to become better versions of themselves and not allow their futures to be defined by their violent heritages. They chose to get out.
The roads ahead of them are rocky, no doubt, as breaking the cycle is fraught with complications. It will not be easy, but I have faith in both of them. If I got what I wanted, Finn would become a Jedi and M’gann her own superhero. Finn would become a Jedi master with padawans of his own and M’gann would become a mentor for a Teen Titan generation of alien and metahuman heroes. If neither story gives me this, it will be my preferred headcanon because I love these characters and what they represent. They’re heroes already in my book, just for leaving and choosing to break the cycle. But, it would be wonderful if they got to have that choice fully realized and recognized by their new societies.
In light of recent events, Finn’s and M’gann’s stories are even more powerful. They’re a beacon of hope and light, a reminder that we have the power to break ranks with the traumas and brainwashing of our pasts. We can choose to be better than the violence of our upbringing and society. Like them, we can redeem ourselves with the choices we make to be better than what we were trained to be. We can transcend racial, ideological, religious, and cultural divides and find a home with those we once called ‘enemy.’
Images courtesy of CW and Lucasfilm.
Sith Inquisitor’s Journey to Freedom
Minor spoilers for the Sith Inquisitor class quest chain; minor spoilers for the Knights of the Fallen Empire/Eternal Throne DLCs
It is a great part of RPG experience, and even a greater part of RPG enjoyment, to like your character. And by “RPG” I mean any RPG whatsoever, from LARP to tabletop to video game. Which is only natural, as you can’t really relate to the character you don’t like. And what is RPG if not relating to a character so that you can share its fictional experience?
Which, mind you, doesn’t mean that person should be likable. More like, they should be interesting. An interesting piece of shit, after all, has a much bigger chance to win over your emotions than a bland, shallow Stainless Hero. Like, when you watch The Thief and The Cobbler (the recobbled cut, of course, not that abomination), you sympathize with the first much more than the latter. What a perfect role model he is! But I digress.
When I first set out to play Star Wars: The Old Republic, I was highly unsure if I really wanted to do so. I’ve always had problems with video games in the sense that they don’t actually let you create your character. You get a not-so-wide variety of characters and must choose one to try to empathize with. This makes every game a hit-or-miss case for me: either it’s love at the first sight, or it’s “who are those people and why should I have anything to do with them.”
Meeting the Sith Inquisitor
I confess, I made my initial character choice based on my desire to shoot lightning. I thought it would compensate for the lack of emotional involvement I expected. Luckily, I was mistaken!
The story was captivating right from the start because it had questions to ask. And those questions were directed to me, a player. It was me who had to answer them for myself. It was me who had to choose for myself. Because my course of action depended not on what were my plot goals and neither on my gameplay preferences. It depended on my opinion on certain problems.
Basically, you start in a very unprivileged position, that of a slave. An alien slave, if you really want to experience this story in its full power. You finish in a rather privileged position, that of a Dark Council member. On the surface this seems like a typical rags-to-riches story. However, the action/adventure story is only a minor part of the experience. The main part is the inner path—looking back to your past to create your own future and, more importantly, your future self.
In a nutshell, it is a story exploring how you deal with the trauma from past abuse: do you internalize the point of view of the abuser or the abused? As a survivor myself, I can only praise the way this narrative was given and framed in-game.
Dealing with the Trauma
So, you are a slave. You spend half your Prologue experiencing constant verbal and physical abuse from your sort-of teacher. He wants to get rid of you so that a free, Sith Pureblood candidate will win the golden ticket. But justice is served, and the ticket is finally yours. You are no more a slave, but a Sith—a person in the position of power above all non-Sith. What do you do now? And more importantly, how do you do it?
The game has a Light/Dark Side system in it. Before it was totally remade (broken, I’d rather say) it worked like Paragon/Renegade system in Mass Effect games: you choose one of two alternatives, you get certain amount of Side points, you become more attuned with a certain side of the Force. Or sometimes there is a neutral way, that’s neither. It doesn’t give you any points, but still is important in this storyline.
Your first encounter with Dark vs. Light presents a very typical kill the baby/save the baby dilemma: you can torture a witness to extract the criminal’s name, or you can talk to him and exchange help for information. A very easy choice, is it not? The next encounter is the one that gets under your skin.
It is with the evil mentor who wanted to kill you, who humiliated you, who was your abuser. You can scorn him now that you are free and a Sith in service of a Lord far above your former teacher’s station. You have every reason to hate this man, you have to wish to humiliate him in return. The first option is to threaten him, and while taking it would be extremely understandable, it is not a neutral option–it’s Dark Side. It is still playing along the rules of the system: might is right; you now have both, he has neither.
The Light Side option is to thank him, to break those unholy rules. You may not forget it, and you may be quite bitter later on about your early experience. You may never actually forgive him. Yet you refuse petty revenge, you refuse the power play. Because evil can’t mend or undo another evil.
I swear, something in my heart trembled when that rat of a man smiled to my character in return and thanked him. Because at last I saw the real Dark vs Light narrative, where Light begets more light–and Dark begets more dark.
Thus I understood that I really want to experience that story up to the end.
While both versions of the Sith Inquisitor’s class story present him dealing with his trauma, I could never get myself to try the Dark one. It was really, really dark; the story of a person broken and driven to the edges of sanity, who would never let anyone have anything that person was once denied. I really couldn’t help pity the creature that person would eventually become. It’s not that this story is exactly bad, but I think it is somewhat toxic and too much in line with “being tortured makes you evil” narrative. Not exactly the trope that is in any way helpful for abuse survivors.
The Neutral path—what you tread if you don’t follow any consistent course of action—was less devastating on the personal level. It is more of a quest for identit-y than anything else. Your character does eventually give in to the darker side of their nature, but also eventually does something truly and genuinely good and selfless. In the end they receive the name Occulus, for being a mystery to everyone , including themselves. Because they really don’t know themselves. After all, the Sith Inquisitor is presumed to be very young; somewhere in their early twenties.
I really loved the third option, the Light Side. It is a path of empathy, a path of true freedom. It is also the path most difficult both for your character and for you as a player, for it consciously sets you against certain old tropes and easy decisions.
Good Is Not Easy
Many games try to “convince” you to do right thing by making good choices less hard than bad ones. In general, this game is no exception; if you were to take the Dark route as a Jedi Knight, it would require more time and work from you than the opposite. But on this route it’s the other way around. Being a good person here is not—just as in real life—easy. It is hard.
I can’t describe Light!Sith Inquisitor as anything but a Suffering Empath. Having experienced much trauma in the past, this Sith Inquisitor struggles their best to shield others from the same trauma, even when it doesn’t benefit themselves. Even when it means direct harm to themselves.
For example, their power is based on that of the restless spirits they’ve bound to their soul. Letting those spirits go means the Sith Inquisitor goes back to the start, where they are fairly ordinary a Sith and no match for the truly mighty ones. It means a real threat to their life or, at the very least, their well-being. But because it is right, they fulfill their promise and let the spirits go and find peace.
In another instance, they encounter a racist, foul-mouthed, self-infatuated prick, and they don’t kill him. They choose this because that abominable creature is someone else’s loved person. and your own (both player’s and character’s) desire to punish him cannot be given a higher priority than someone else’s love and anxiety.
This route is hard, because it requires additional quests and lines of dialogue. It is hard, because sometimes you really want to teach someone the hard way, to vent your own (player’s) disgust and rage, to punish the bad guys. But as long as you remember the “two wrongs don’t make right” rule, you can really enjoy that story.
Well, “enjoy” is not exactly the right word, but you get it.
This story is about real freedom; that is, spiritual freedom.
One of the easiest paths to achieve your goals in Star Wars universe is by using Mind Trick. You simply make the other person do and think what you wish them to. It is often used as, well, an easy and harmless workaround. It is often marked as a Light Side option in the Jedi class stories (the Dark option being to fight).
But on this route it is never a offer as a good option—usually neutral, but sometimes even bad. Because, y’know, it’s about freedom. What is more abusive, after all, than to deny a person that person’s free will?
I cannot fathom an action more free of will, of an agency more openly expressed, than denying a whole system of oppression while being raised as a part of it. But the Sith Inquisitor does just that.
Every time they eschew their own in favor of someone else’s, they deny that system. Every time they refuse to acquire more power because it would others more dearly, they deny that system. Every time they choose to respect the free will of the others, even if it means problems for themselves, they deny that system.
What I really wanted to do, right from the beginning, was to thank the author.
Rebecca Harwick created a fascinating story that works perfectly for a genre that requires deep emotional connection with your character. RPG is about living other lives, those we can never experience IRL but those still having an impact on us and our life. We all know that stories matter, and I think we need more stories like that.
And it is a highly satisfying story. You really feel it by the end, that peace and glory that come with being righteous.
Personally, it helped me deal with my own trauma and helped me sort out things and realize that some options are not really an option—that giving in to the abuser’s point of view would really keep me stuck in that trauma forever.
That, while trying to be a good person is often hard, it’s worth it.
P.S.: And Then They Ruined It…
When you experience something that great, you want more of it, do you? Well, I wanted. So I went on to playing DLCs that are supposed to cover the later life of the same hero.
Sadly, the story-line there was clearly written as a continuation of the Jedi Knight’s class story, and any difference in dialogue was purely cosmetic. This actually came out bad for many classes, but the Sith Inquisitor suffers not only plot-and-logic-wise, but also thematically and, I daresay, problematically.
You see, it is generally okay if a privileged golden boy of a Jedi, who was always treated as someone special and a Chosen One, gets a lecture from those still above him about him not being special and his real role being a mere gear in a much greater machine. It serves him right and it even has some thematic significance. I am, of course, referring to the Jedi Knight—the supposed Anakin-done-right hero, the most obviously coded as male and most irritatingly problematic in and of himself.
This kind of lecture is certainly not okay when delivered by two uber-privileged guys (a Jedi Grandmaster and a Head of the Dark Council) to a former slave. They tell this slave to be nothing more than a cogwheel, that freedom is overrated and that they need to subjugate themselves to someone or something greater. They directly say, “you are weak because you fight for your freedom, become a willing slave (to the Force, but still) and you’ll be strong.”
It is problematic, isn’t it?
It really ruined the thing for me. The narrative that was centered around freedom, around acquiring it, understanding it and using it right…it was thrown away in favor of a rather lazy “we all are slaves of the Fate” plot device. And that’s only when we talk themes and not slavery per se, and the narrative completely forgetting about it.
My only solace is, it was written by another person.
Images courtesy EA Entertainment
Will Has a Women Problem
Love him or hate him, you have to admit William Shakespeare wrote some of literature’s most iconic women. Queens such as Cleopatra, Lady Macbeth, and Titania; tragic heroines like Cordelia, Juliet, and Ophelia; the outspoken self-advocates Beatrice, Katherina and Paulina. While only some of Shakespeare’s women wield legitimate, authoritative power, all of them are powerful figures on stage: women of devastating conviction, integrity, and passion At a time in history where women had few legal rights—and couldn’t legally appear on a stage—Shakespeare’s women stood as monuments to women’s potential and women’s reality.
It’s unfortunate, then, that Will, TNT’s ten-episode period drama, does its women a disservice. This is not to say that Will’s women are bad characters. On the contrary, Alice Burbage, Anne Hathaway/Shakespeare, Emilia Bassano and Apelina are powerful, bringing some of the most poignant emotional experiences to the show. Unfortunately, those performances don’t happen for the sake of their own characters’ individual growth. Frustratingly, Will’s women instead end up as tried-and-true tools shaping men’s destinies.
As Will’s love interest, Alice Burbage is the woman most affected by Will’s underlying misogyny (although she’s not the most insidious example). From her first appearance in “The Play’s the Thing,” when she leans out of her window, breasts just short of dropping out of her bodice, Alice is set up as a sexual object for Will’s attention. But it is her brilliance and dedication to the theater that draw Will to her as a lover and intellectual soulmate.
Alice is an “educated woman,” her learning much more advanced than the supposed average early modern daughter or housewife (who actually had to have a decent bit of learning in order to maintain the household, but suspension of disbelief and all that). She can read and write well enough to provide clean copies of scripts for the actors of her father’s theater, and has enough business savvy to help her family with the theater business.
Alice’s intelligence doesn’t exist for herself, though. Rather, it exists for Will. A blossoming-playwright with no experience, Will is a really terrible addition to the Theatre. He has talent with words but little else; he barely understands how theaters and theater-going works. For Will, there is only “the art,” which finally bites him in episode 3, “The Two Gentlemen.” No one will buy Will’s newest play, a complicated piece of poetry with nothing to appeal to an audience. Once he admits Alice is right and he needs her help, though, Alice gives Will access to all the plays in her father’s repertoire and then helps him hit upon the then-not-so-novel idea of stealing the overarching idea.
Once that’s in hand—with Alice guiding him in the selection and the theft—Alice helps him write.
“To him she must be like day, like night, like light. Like light.”
Even when Alice is asleep, her presence is the thing that spurs Will to continue to write, his eyes fixated on her as he writes passionate speeches for Sylvia. When James discovers them in the morning, it’s Alice’s fury and insistent on its quality—quality she oversaw—that gets it performed.
Alice does the same for Henry VI pt 2. After encouraging Will to write the histories out of order, she gives Will the title for the play:
“Henry VI: The Rise of the Dauphin Menace. When I was reading the histories, I discovered the Dauphin, Charles II, joined forces with Joan of Arc.” (Episode 6)
The pair of them function like this for most of the season: Will comes to Alice with the seeds of a play, the words that are his signature, and Alice provides the necessary structure to see the play succeed and Will’s star rise. She coins the term“prequel” for Henry VI pt 2, decides on the overall plot of that same play, and, perhaps most importantly, suggests Will humanize Richard in Richard III, making his actions more horrific by highlighting the humanity still lurking in the monster. Without that crucial character change, the endgame against Topcliffe would have failed.
Alice, however, never receives recognition for her significant, life-altering contributions. Will, of course, praises her genius and recognizes that without her, his writing stagnates. But he makes no effort to inform her father, mother, brother or any of the company about her crucial contributions to the plays that have made them and him, so popular. Instead, he sits proud and preening over the work she improved, enjoying her labors and her love until he is forced to end their relationship.
This is perhaps why Alice switches intellectual loyalties—Father Southwell gives her credit. The more entwined Alice becomes in his Catholic plot, the more Southwell praises her devotion and willingness to endanger herself. Southwell, however, is no better than Will, using Alice’s brilliance, grief, and determination to further his cause. As his newest convert, Alice is best suited for smuggling messages since she is thus far unknown to any of Topcliffe’s informants; moreover, her connections to the theater, frequented by one of the Queen’s advisers, give Southwell noble connections he needs to deliver his manifesto to the Queen. Alice, then, is Southwell’s newest and best instrument in his Catholic war. She’s also the one he loses most quickly.
In the end, everyone loses Alice; her destiny finally to leave the world she loved and desired in the hands of a man she can’t stop loving. Her suffering at Topcliffe’s hands encourages the company to perform Richard III (thus altering the torturer’s destiny) and cements Will’s undying love for her—none of which she can share. Instead, Alice must go, freeing herself and Shakespeare from a love she now knows could never be and no longer wants. It is only through that pain, apparently, that Will can go on to right the greatest love story: Romeo and Juliet, where his “bright angel” will shine again.
Alice is just one woman robbed of a life or dream for men’s sake. Another, set up against Alice, is Anne Hathaway. Never one to get a fair treatment in adaptations, Anne is everything Alice isn’t: an obstacle to his art and an intellectual inferior. From her opening line, Anne is portrayed as shrewish and incapable of seeing Will’s greatness: “Who will want a play by William Shakespeare?” (“The Play’s the Thing”). Anne is incapable of seeing Will’s art, and clouds his genius with mundane concerns like the survival of his family.
Is the sarcasm evident?
Anne’s demotion to a tool of Will’s destiny is briefer than Alice’s but just as unfair because she deserves better, from both Will and Will. However, her dire situation is never taken seriously. When Anne brings Will’s children to London to visit him, and learns about his affair with Alice, her hurt is shown as unjustified. Alice understands Will in a way Anne simply can’t; how dare Anne reject Will for something as simple as a connection with an intellectual equal?
Moreover, when Anne finally admits to Will her situation in Stratford, he cannot fully recognize or accept her pain or the fear that fuels her inability to believe in him. Living as a servant to his parents, with the threat of homelessness and beggardom, Anne physically can’t believe in his dream because a dream can’t help them now. It can’t provide them food or shelter. It can’t give them a livelihood and future. The money Will makes as a writer isn’t enough to ensure her and her children’s safety if they are forced out by his family and his father’s poor business practices. But Will sees her insistence that he take responsibility for them, that he look after them as he promised to, as manipulative and cruel.
All of this is heartbreaking because Anne loves, or at least loved, Will, and at some point, Will loved her. At the tavern, after she’s accepted by the company even after her fumbles, Anne and Will dance, smile and laugh. As they walk home and speak of the early days of their relationship, there is genuine warmth and affection in the shared memories. But domesticity chafes Will. It suffocates him in a way Anne is able to—and has to—endure, and he can no longer return the love she still extends to him. At his distress over Topcliffe’s threats against his family and Southwell’s inability to understand his situation, Anne reaches out to him,
“Yet you do not talk of your struggles with me. I am here to listen and to ease your burdens, as a wife should. If you would share with me.”
For her pains—for her labor, emotional and physical—all she gets in return is Will insistence he can’t, and won’t, share with her.
“I cannot speak of what’s inside of me. That is why I write.”
But Anne can’t read. Will’s writing—his plays, his dreams—is an impassable barrier between them, one which Will doesn’t bother to pull down and which Anne eventually accepts.
That’s Anne’s destiny: acceptance of being not even second best. “It’s not about the girl,” Anne tells him in episode 6, “Something Wicked This Way Comes,” as she piles their children in a carriage bound for Stratford. Anne is Alice’s inferior, but more than that, Anne is not theater. She is not the escape, the support and the adoration Will craves and now enjoys in the London theater. Anne is just the mother of his children, a burden to his art. Although it clearly pains her to realize it, she has to step aside; her only purpose left in his life is, as she says, “to leave you free to be who you wish to be” and fade quietly into a lonely life, awaiting money and the occasional letter.
Anne’s grieved blessing and disappearance are required. No longer a figure in Will’s life or thoughts—she’s referenced not even a handful of times after her departure and is never seen again—Anne no longer obstructs his art or his destiny. With this freedom, Will is able to put his pen and his talent to bringing the Theatre up and tearing Topcliffe down with one of his most powerful plays. He can take the first steps into the fame that will follow him for centuries.
Alice and Anne’s roles as destiny-tools are specific: they shape Will, and to a lesser extent Topcliffe and Southwell, into who they are meant to be. Emilia Bassano and Apelina don’t operate in quite the same way. Although they also, indirectly, affect Will’s destiny, their characters exist as more generalized comments on the role of women in Will’s narrative world.
At her first appearance in “Something Wicked This Way Comes,” Emilia Bassano seems to be a noble woman. Alice, however, breaks that illusion. She reveals that Emilia is Lord Hunsdon’s newest mistress—replacing the one from episode one—and although she was once nobility, she’s fallen on hard times. The daughter of a Venetian musician and “impoverished Moroccan royalty,” Emilia has taken up residence with Lord Hunsdon as a companion skilled in conversation and poetry.
She has absolutely no illusions about her purpose and position. “Thou art sorely misguided,” she tells Will in episode seven, “What Dreams May Come,” “None of this is mine. It belongs to Lord Hunsdon, just as I do.” Emilia is property, dressed up in the finest the Queen’s advisor and cousin can offer but with the knowledge that she is no longer her own. Emilia is a thing now, a thing as pretty as her dresses and jewelry, but expected to perform certain duties and services or suffer unspoken consequences.
Her status as high-class property affords Emilia some freedom, but nearly all of it is used to serve others, most often as facilitator. She puts Will in touch with Lord Fortuscue, whose commission for A Midsummer Night’s Dream saves the Theatre from closing. She overhears Lord Hunsdon’s conversations and then shares important details about Topcliffe’s promotion and Alice’s increasing role in Southwell’s plot with Will. But Emilia also provides what she can, especially when Will rescues Alice from Topcliffe’s clutches. She opens Lord Hunsdon’s house to them and gives them access to her own personal physician, even knowing the danger it puts her in.
As Emilia said, nothing she owns is hers. If Lord Hunsdon, cousin of the Queen cousin and–until the last episode–Topcliffe supporter, learns of her aiding and harboring Catholics plotting against him, her life could be in danger. But no one ever addresses or acknowledges this. Emilia is not important enough for fear. Convenient when she is needed, shelved when she is not, the precariousness of her situation—a situation Will brings her into with a well-written sonnet—is never given serious consideration by anyone.
Nor is Apelina’s, although she is confronted with the danger of her choices almost daily. Her situation, in many ways, mimics Emilia’s: they’re both owned, although by different classes of people. Emilia is a nobleman’s mistress, Apelina a peasant sex worker. Apelina has a nearby brother to consider while Emilia is separated from apparently all she’s ever known (but never seems bothered by that fact). However, the most important difference between these two women is that Apelina is given no identity within the narrative.
From her first appearance in “The Play’s the Thing” to her death in “Something Wicked This Way Comes,” Apelina has no personal identity or discernible history apart from “motherless whore,” “dirt-some punk,” and Presto’s sister. Her name is never even mentioned in the show; it only ever appears in the ending credits, a brief half-second flash near the end of the cast list. Without an identity, Apelina occupies the lowest space for women in Will: a complete and total object, to be used, cast aside, and then briefly mourned, if she’s lucky.
She is somewhat “lucky,” in that regard. Her brother Presto is clearly devoted to her, or at least to the idea of her being free. He takes up thieving to pay for her freedom and tortures himself with every day she suffers under Doll’s thumb. Apelina shares that love, and fully verbalizes it when Doll tries to sell Presto to Topcliffe. She helps him escape and undergoes torture to keep him safe. When Presto is caught and agrees to prostitution, she tries to make it as easy as she can for him, giving him alcohol to ease the pain and offering him a compartmentalization technique that has always helped her.
None of this, though, is for her.
Everything Apelina does is as Presto’s sister; everything she does, and says, and is, is for Presto’s growth. Presto needs to suffer, needs to steal from the Theatre and then feel the intense grief and pain to move him into position for Will’s final endgame. But unlike Alice’s case, it is a private grief. No one apart from Presto and Will ever know about Apelina and her role, and even they speak of it only in passing.
In a way, it makes sense that the women in this period drama are so suppressed. Will focuses on the downside of pursuing dreams: the things lost when dreams become obsessions and are followed without any sort of consideration for the lives affected. Yet, Will never took the opportunity to explore the women’s dreams. Alice could have been shown learning that she would never inherit the Theatre and then working to change that reality. Anne could have turned her attention to a different destiny than the happy, stable marriage she once desired. Emilia could have looked for ways to restore her status, or to bring unmentioned family to her side. We could have seen Apelina dreaming of a life of freedom, a home for herself and her brother.
But Will doesn’t care about women’s dreams and women’s destinies; there are dozens of women in Will, named and unnamed alike, and none of them exceed Alice’s crucial instrumentality or Apelina’s limited use. Even Queen Elizabeth I is only referenced, never seen. Will’s world is a man’s world, and male destinies, desires, and hopes are the only ones that matter. Women—their needs, their livelihood, their lives, their bodies—are considered only so far as they work to further or hinder men’s destinies. They are tools, sharpened for use and discarded when no longer needed.
Instead of characters, they are caricatures.
Images courtesy of TNT Productions
The Source deals with Feminism and Intersectionality
A common criticism of feminism is that, as it exists today, it tends to forget the most vulnerable of women, i.e., those that are not wealthy, white, cisgendered, able-bodied, neurotypical, or straight. The response to this has been to draw increasing attention to the principle of intersectionality, that is how one oppression interacts with and complicates others (if you are non-white, neurodivergent, and also LGBTQ+, for example). Similarly, intersectionality seeks to investigate how privilege might interact with oppression (if you are a woman but also white, or if you are a POC but also rich, etc).
Despite the fact that intersectionality has become a common tools of analysis in the social sciences, cultural productions haven’t kept up. Sure, we talk more and more about oppressed demographics, but typically one at the time. We don’t want to strain a muscle, I guess.
And it’s true that even if lately we’ve saw an increase in feminist productions, they tend to primarily cater to one, maybe two demographics (when they actually manage to be feminist at all and not just an exercise in faux-feminism, but that’s another problem). And those demographics aren’t always intersectional.
That maybe why The Source, a feminist movie focused on poor Arab women in a country who suffered colonization, strikes me as special in today’s cultural landscape.
The Source or The Women’s Source
The Source is a 2011 French movie (original title La Source des Femmes literally The Women’s Source) that presented at the Cannes Film Festival the same year. Radu Mihaileanu wrote and directed it, taking inspiration from the classical play Lysistrata and from an actual women’s revolt in Turkey.
The story follows a community of women in a tiny village, nowadays in an unnamed muslim country that used to be a colony. In this village, it is the tradition that women bring the water to their family. The source is, and has always been, at the top of a mountain.
One day, one woman falls while coming down and miscarries. For Leila, who has herself miscarried under such conditions, it is too much. She organizes a strike to persuade the men to do something to bring the water directly to the village. This strike is of a special kind, though; it is a love strike. With time the strike unleashes a debate way larger than the access to water, namely, on the condition of women vis-a-vis traditions.
The movie is supposed to be a dramatic-comedy, and you will laugh yes, but way less than you might have anticipated. And, if you plan a light evening of good fun, I recommend you postpone watching this movie.
So before we move on to the themes, it’s worth summarizing the main characters:
- Leila– clearly the main protagonist, she didn’t grow in the village but came to live there when she married. She is not completely accepted there.
- Vieux Fusils– (literally Old Riffle), among the elders of the village, she supports Leila in her idea immediately. Married when she was a child to a violent man, now that she is a widow recognized for her wisdom.
- Loubna/Esmeralda– teenage sister-in-law of Leila. Madly in love with a boy from another village and has decided to marry only for love. Fan of a telenovelas and therefore nicknamed Esmeralda by the other women.
- Rachida– Leila’s mother-in-law. Hostile to Leila and her strike.
- Sami– Leila’s husband and teacher at the local school. In favor of the strike, but maybe more in favor of a peaceful village.
There are of course a lot of other characters, in favor of or against the strike, but these are the most important to the story.
A Feminine Feminist Revolution
The way Leila and the other women decide to lead their ‘revolution’ might at first appear artificial and even a tad insulting. Is a woman’s only influence on the world through her sexuality? But the fact is that this women don’t have the choice. To have water in the village the government must pay for important construction works, and for this to happen you have to face the AdministrationTM. And the administration has a directive to do nothing if not absolutely necessary, which typically means having time, connections, money, and education.
No woman in this village has all of that. Not even the entire group of women can gather all of those things. To tell the truth, the men don’t have them either. Their lot is better than that of women, but in front of a disinterested government they are as powerless as the women are. To gain what they want, the entire village must work together.
The women don’t want to penalize the village. The want the men to realize that they are suffering for nothing, and that if they love and value them they should help them do something about the condition of the water supply.
They do not reject femininity for the sake of it. But they reject thousand-year-old traditions that are outdated or were wrong to begin with. For example, going up the mountain to carry back water when running water could be installed. But as I previously said, the debate about water brings other questions, like that of the relation between men and women. The husbands think it is their right to sleep with their wife, so due to the strike, eventually practices such as marital rape and child marriage are also denounced.
There is something that grabbed my attention about The Source. In Lysistrata, one of the inspirations behind the movie, the title character (whose name literally means ‘Army Disbander’) wants to stop a war by not sleeping with men and making the other women do the same.
And there is this conversation in The Source:
Hussein (Leila’s father-in-law): Don’t belittle men. My grand-father and my father waged war on the colons and on our neighbors. In order to defend our tribe, our village, our family, and to defend our source of water. During those times women and children stayed at home, sheltered. A lot of us died. Men hunted (…). You realized it was never easy
Leila: They were all warriors.
Hussein: Valiant warriors of great courage (…). We never asked you to do our work in our place. It is for your protection and it is the tradition. The cycle of life. (…) But with the drought there is no more work.
Leila: And no more war.
The Source talks about changes in the society. How the men fell out of employment and how, if they could, they would follow the traditional role they were assigned but they can’t. And the answer given is that maybe it is for the best. Maybe we are best without the violence that exist in the traditional roles of men.
When men have it bad women have it worse
Now on to other subjects tackled by the movie that fit into the idea of intersectionality. Women suffer in this village because they are women, but also because the majority of the village suffers too. If girls barely go to school, boys don’t have a possibility to achieve their dreams either. Women don’t have it bad, per se, they have it worse.
The village is isolated. The climate has changed and agriculture has became impossible. The people in the village as a whole are stuck in there, without a chance to access a better life. The women in the village are stuck in homes they didn’t choose without a chance to access a better life. Worse, the little they have—food, respect, a roof above their head, their children—can be taken from them at any moment if they step out of line
And they are people who don’t want things to change. Some men abuse their wives at their will and use the bad situation to do virtually nothing with their lives. The government doesn’t want change either. It is shown as corrupt and not in any hurry to do anything to better the lives of its citizens. That’s why it doesn’t want to help this village. Because if it does listen to the demand of the women, the most fragile demographic of their country, they might have to listen to other oppressed voices.
A parenthesis on western ‘humanitarian’ tourists
The Source is nearly free of western, white characters. The only ones in it are humanitarian tourists, and oh boy is it glorious! If you are not aware there is currently a backlash against a certain type of humanitarian work. The one that is way more performative than effective and reeks of neo-colonialism. When rich young people pay to have ‘humanitarian’ trips and do to work they are untrained for (but I guess are naturally experts at through the sheer power of whiteness), in order to discover the Real Meaning of LifeTM and add a line to their CV. Just a new rebranding of the good old White Savior.
Well our westerners are those humanitarians. Well I guess they are not that bad because they bring money and don’t receive or offer life lessons. But seeing clueless Europeans watching a show made for them (to show gratitude) while the tensions of the village unfold in front of them is so nice. They can’t understand it, since they don’t speak Arabic, but long story short, The Source makes a point explaining that you can’t be the hero of people you don’t understand.
Of Hope and Love
Gloriously, the movie never becomes nihilistic. Sure, there is despair in our world. There is apathy, oppression, violence, and people who will stand for it. But it doesn’t mean that all hope in mankind must be forsaken. There is love in this world, and love conquers all.
That’s what Loubna’s story represents. Everything is possible when you believe in love, even when the object of your love is proven to be disappointing. Because as long as you believe in the idea of love you can muster the courage to move forward, and maybe find someone more worthy of your love. Like Leila did.
To truly love and be loved you must be worthy of this love, and eventually both Sami and Leila are.
It is also important to love your neighbor, as Vieux Fussil does. She might not have children of her own but she takes care of every young women in the village because they need love and support. Because to turn into the best version of yourself, you need love. Love is like water, it brings life.
And that’s what the women ultimately bring to the village: Love and Life.
The Source isn’t a perfect movie; it has its flaws. It is probably a bit too theatrical, but it is inspired by a play after all. It’s a bit Manichean too, though while not stigmatizing Islam. (The fact that the imam refuses to move against the women because he has been convinced by them is touching.) But it is important to remember that the movie is a fable. It was never intended to be a realistic social movie.
It’s a tale about women and their emancipation. It’s a tale about change and its benefits, and it’s a tale about love. It’s different, and in the end, it’s enjoyable to watch. So I would say that The Source did its job fairly well.