Through unabashed optimism and positive lesbian representation, Supergirl has quickly become something of a Fandomentals darling this fall season. It’s offered a refreshing break from the current grimdark of our TV-scape, with its shock deaths and dead wlw characters.
In its newest episode, and the last until the new year, Supergirl blew-up what we all expected to be a season (or more)-long slowburn romance between Alex Danvers and Maggie Sawyer, instead sending the good ship “Sanvers” sailing on its merry way.
It seems odd then, for this piece to question the “courage” of a show that gave such a close and personal view of Alex coming to understand her sexuality. However, the relationship in question is not between Supergirl’s adoptive sister and a cop. No, it’s between Supergirl herself, the show’s protagonist, and Lena Luthor.
The thing is, while Alex and Maggie have filled me with nothing but warm and fuzzies, it’s the dynamic between Kara Danvers and Lena that’s left me clutching my chest. Often times literally, and to the concern of my cat. And as much as my brain was cheering on the set-up of Sanvers slow-burn, there was a feeling in my gut that it was the death-knell for “Supercorp”. Sadly, wlw representation tends to be a zero-sum game, and it seemed as though the writers were positioning Kara to act as a straight sounding board for her sister. It’s not that there isn’t value in that, especially since it’s incredibly validating to show how even loving, well-intentioned family members can fall just short of the support needed.
Additionally, there was a question hanging in the air: was Lena Luthor going to get a villain arc? It is, after all, rather hard to trust someone with that last name in the DC Universe.
Yet with “Medusa”, both of these worries were cast aside. Lena made a definitive choice that placed her firmly on Supergirl’s side, as well as in direct conflict with her family, and Sanvers resolved their will-they-won’t-they (duh) with relative narrative ease—heck, Alex only told Maggie she was interested in dating her two episodes before.
So the space is there, if Supergirl writers wanted to pursue it. It would certainly be groundbreaking to have multiple wlw relationships in the foreground, not to mention bisexual protagonists are still too few and far between, but this is also a show that’s demonstrated both self-awareness and a willingness to “go there”…even with swipes aimed against its own network.
That just leaves us with one consideration—is the story there? Could Kara and Lena’s relationship truly be building to a romantic pay-off?
To that I say “absolutely”, because we’ve seen it before: with Korrasami.
A Luthor and a Sato
For those who are unaware, “Korrasami” is the ship name given to the couple Korra and Asami Sato, the unexpected and perfect endgame pairing from The Legend of Korra.
Korra is a uniquely superpowered individual within her own universe, who strives to be an unwavering force of good and balance; Asami is a nonbender [read: non-powerful] engineer, who stands up for what is right against a family pursuing an anti-bender agenda, using her newly-inherited company resources to fight alongside Korra.
While these oddly specific similarities in the two pairings are far from superficial, it’s the absolutely immaculate parallels between Asami and Lena that provide such a strong sense of déjà vu. True, it’s a bit in-vogue over here to claim that Asami is practically the same character as someone else (she’s also Sansa!), to the point where Griffin and I are wondering if there should be a trope named “Too Evil to Fail” in the case of an un-corrupted daughter being shoved into a CEO role for a formerly nefarious company.
But no, hear me out: the way in which Lena relates to her family, plus the way she conceives of and utilizes her company…she may as well be a goddamn Sato.
Kara: What about back when it was Luthor Corp? How did she feel when you changed the company’s direction?
Lena: You mean when I changed it from its “murdering world domination” direction?
Both Lena and Asami have a deeply-rooted sense of justice that causes them to choose what’s right and to be definitively good. Which sure, this might not seem particularly remarkable, because you don’t get brownie points for basic decency. But in their cases, they both have families that do evil, testing their convictions a bit more than, say, Alex Danvers. Plus it’s not just that the reject the viewpoints of their families, they actively place themselves on a battlefield against them.
This almost needs no explanation for Lena. The Luthors are infamous in the Superman universe, with Lex being its most recognized antagonist. In Supergirl, they talk about him in generalizations; we know he did some kind of unspecified, anti-alien, world-dominationish evil that made him a famous enemy of Superman, but the details stop there. Lena talks about how growing up, she loved Lex, almost worshiped him as his adoptive younger sister, but then when she found out what he was, she was horrified to her core.
Her mother, who turned up this year, shares Lex’s anti-alien sentiments, which was revealed to Lena in “Medusa”. Acting as the head of Cadmus, Lillian Luthor (this family is committed to its branding), she hoped to eradicate all alien life on the planet and asked for Lena’s help in doing so. Lena tricked her, and had her arrested.
Asami’s story is not radically different, though she didn’t come onto our screens already aware of her family’s dark history. That was revealed to us during the first season, when she discovered her father was an Equalist, working to eradicate all benders. Actually, she found out as he was attacking Korra, her mentor, and the chief of police. Awkward.
Hiroshi Sato immediately apologized for keeping his daughter out of the loop, but then asked her to join him, citing very real and troubling issues nonbenders faced. Asami tricked her father into arming her, and then incapacitated him while “team Avatar” escaped.
The biggest difference that can be pointed out is how as an adopted daughter, Lena always felt a bit unloved by her family (especially her mother, who outright told her she preferred Lex), where Asami and Hiroshi were incredibly close, she just didn’t know his entire guiding motivation in life. It could happen to anyone! Though once she was clued in…
Lena went on to inherit Luthor Corp following her brother’s arrest, changed its name to “L Corp”, and was determined to make it a force for good. Asami inherited Future Industries following her father’s arrest, and used it as a force for good by landing crucial infrastructure projects that helped bring Korra’s vision for the world into the material. Though she still produced military tech to some extent.
“I’m a businesswoman. L-Corp is in the business of making money and this device is going to make us a fortune.” —Lena Luthor
Oh, and finally, as icing on the cake, both Lena and Asami are engineers. This was very obvious from the get-go in the case of the latter, who would talk about piloting Future Industries forklifts and took Korra on a test-drive around her racetrack. For science!
However, Lena’s engineering prowess came in the form of a reveal in “Crossfire”. The episode prior, she had made it clear to Kara that she owed her a debt after Lena helped her out, while ominous music played. I was sure she was getting a villain arc, and thus my Supercorp ship would be sunk. However, nope, the favor was just to get Supergirl to come to a party so that Lena could set a trap for some bad guys and destroy them all. A science trap!
This is getting…spooky.
The chemistry can’t be an accident, right?
But of course, this is only half of the ship. And while we’ve seen a character exactly like Asami to tell a slow, slow burn built on mutual trust and a commitment to justice with the series protagonist, we do have to consider those supers. And this is where the parallels just keep on rolling.
For the first half of the show, both Korra and Asami fell victim to some love-triangle scripting, in which they were both interested in the same boy. However, they always were friendly with one another. Now, perhaps it’s tey slightly vamp-ish character design, perhaps it’s Seychelle Gabriel’s performance, or perhaps it’s just a very well-scripted character with a ton of inherent agency, but even from the start, Asami seemed to be always a bit flirtatious with Korra. Or at the very least, completely blown away by her.
“No, that’s nonsense! You’re amazing!” —Asami to Korra
Once showrunners Bryan Konietzko and Michael Dante DiMartino learned to listen to their characters during the last two seasons and seemed to realize Korra and Asami should be on a trajectory headed towards a romance, these flirtatious gestures became a lot less subtle.
Korra, for her part, began to noticeably enjoy Asami’s presence more and more, and by the end of the third season, it was clear that this was the person closest to her. Though she’d often bicker with other members of her team, she and Asami worked in more or less perfect synchronization, with Korra always seeming incredibly content around her, and even comfortable enough to display vulnerability.
By the time the final season rolled around, these two were being total, and completely unsubtle, nerds:
We’re rather lucky that with Supergirl, we didn’t have to wait four years for Lena and Kara to be flustered around one another, since it happened out of the gate.
Gretchen and Elizabeth have hypothesized that this phenomenon might be due to the fact that Katie McGrath could have chemistry with a decorative house plant. And that’s not, strictly speaking, untrue. But then we also see how Lena is canonically overwhelmed by Supergirl’s mere existence (repeatedly), and that she and Kara can bond on a rather unique level.
“I’m just a woman trying to make a name for herself outside of her family. Can’t you understand that?” —Lena Luthor
Kara certainly agrees:
Heck, this might come into even sharper focus since Kara discovered that her parents were the ones that created the Medusa virus. They’re certainly no Lillian Luthors, but it is a betrayal to her sense of justice, and to her previous idealization of them.
Oh hey, remember in the second season of Legend of Korra when Korra finds out that her father had been lying her entire life and had done some not-so-great things up in the Northern Water Tribe? Sadly, the potential to relate to Asami on that front went largely unexplored, but Supergirl could still offer follow-through.
And if the narrative potential doesn’t woo you, can’t this at least do the job?
Good gods, Lena! This is Asami flipping her hair while driving Korra around a racetrack, shouting about how much she loves her haircut.
To which Korra would be just:
To the Future! And Beyond
I’m sorry to say, but before there can be any hopes of Supercorp, we have to take out the garbage first.
Let’s just call a spade a spade: Mon El is being foisted on us as Kara’s current love interest. They have no palpable chemistry to speak of, and why James was dismissed as her romantic partner in favor of this piece of milk-toast is beyond me. And yes, there’s ugly implications inherent in that. But there’s also no denying that we’re likely too late into the production schedule for any sort of different result this year.
That doesn’t mean all hope is lost! In fact, The Legend of Korra offers our greatest source of it, given that Korra and Mako were smashed together in the first season, only for them to break up the following year, and for him to go on and become the wonderfully dorky and awkward cop we know and love today. Mon El is more than free to step into a similar role.
Further, The Legend of Korra is hardly the first narrative to favor organic on-screen chemistry that is character-driven, over best-laid plans. And I’m sorry, I don’t care if Katie McGrath is the most shippable actor in existence, I refuse to think anybody could watch these scenes back without *something* being palpable to them.
Plus, we’ve seen this before! To the letter. The result was one of the most effective, positive, and validating conclusions of a TV show to date.
We’ve called Supergirl the remedy to grimdark before, and it’d be disingenuous to ignore that if there was ever a time for such a boundary-pushing and salubrious narrative, it’s now. But is it a show that’s truly brave enough? There’s only one thing we can do…
Images courtesy of The CW and Nickelodeon
Brimstone Is More Grimdark Nonsense Posing As Feminist Empowerment
Content warning: article contains discussions of incest, sadism, and torture porn. Spoiler warning for the movie Brimstone.
Brimstone is the latest victim of the Grimdark plague afflicting too many narratives nowadays. To the point that I’ve started accidentally calling the movie “Grimstone” or “Brimdark”. Dakota Fanning is convincing in the lead role of a traumatized, hunted survivor, but no amount of good acting can redeem such an unpleasant, painfully long (nearly 2.5 hours) and pointlessly sadistic ordeal. Not even Kit Harington’s somewhat brief appearance and sad puppy face is worth it.
The Road to Hell is Paved with Faux-Feminist Tales of Empowerment™
For some reason that still escapes me, the Political Film Society (whatever that is) has nominated Brimstone as “best film on human rights of 2017”. They have praised director-screenwriter Martin Koolhoven for daring to expose the “extreme debasement of women” in a the mid-19th century American West, while making a jaw-dropping political comment,
“Another theme is the depiction of the American West as lawless, hinting that within American culture there is an extraordinary macho strain that continues in family life and politics, what Theodore Adorno called the ‘authoritarian personality,’ which maintains strict discipline at home and votes for those who appear strong enough to break the rules to get things done. Brimstone was released at a time when filmviewers may find resonance in the story with the rise of Donald Trump to the presidency.”
Sure, it’s easy to connect “the rise of Donald Trump” to misogyny (it’s also lazy and simplistic). The problem is that Brimstone is not actually exposing or denouncing it; it’s actively participating in constructing it. Depicting the “extreme debasement of women” (the wording used by the Political Film Society should already give you a clue) in an exploitive, pornified, Grimdark framework reminiscent of Justine, or the Misfortunes of Virtue is not the way to bring attention to misogyny, rape culture, or violence against women. It brings us back to the old debate of Depiction vs. Endorsement which is actually way older than we might think.
Before diving headfirst into the disturbing, depressing universe of Brimstone, I propose a short trip into the historical origins of the Grimdark subgenre. This topic deserves its own piece, which will be fully fleshed out in the future, but let’s start with a quick overview.
Gothic vs. Grimdark and the Sadean Narrative
Unlike David Benioff and Dan Weiss (D&D), the infamous (around here) showrunners of Game of Thrones, Brimstone director Martin Koolhoven at least never pretended he was writing a Dramatically Satisfying™ “Gothic Horror,” though it does contain similar tropes. Indeed, it’s hard not to compare the two. So much so I had to pause while watching Brimstone to check if they shared a screenwriter or ‘creative genius’ in common rather than just Kit Harington and Carice van Houten (they don’t seem to).
As a historian of the French Revolution and the 18th century, it’s also difficult not to see the similarities between the Grimdark narrative to which Benioff, Weiss, and Koolhoven subscribe and Sade’s Justine, or the Misfortunes of Virtue. Especially when the former attempt to root their stories in “historical accuracy” or “historical realism.”
Some of the main themes of the Gothic genre are impossible to separate from the historical era in which it originates. Like most fiction, the eternal battle between Good and Evil is at the forefront. In this case, the concepts most commonly used during the period were those of Virtue and Vice, in which the Apostles of Vice try to tempt, lure or corrupt the Champions of Virtue.
Gothic fiction is further characterized by decay and corruption, which parallel that of the Ancien Régime itself. The old protectors (nobility) and moral guardians (clergy) were the institutions that used to champion Virtue. However, by the 18th century, they are increasingly failing in their duties; they were no longer capable of playing and fulfilling their roles, or deliberately stood against them, leading to the rise of new “Champions of Virtue.” These new heroes will define the 19th century with new struggles. In this period, the revolutionary acts as a substitute for the fallen figure of the “Knight in Shining Armor” and “Protector of the Innocent.”
As a moral and political critique of the Ancien Régime, Gothic fiction shares much in common with epistolary novels of that century, but they both differ from Sade in significant ways. Most importantly, in the former Virtue ultimately triumphs. Sure, it won’t get out of the fight unscathed. Its champion will lose their innocence; they might fall from grace, they may even die, often by sacrificing themselves, but what they represent will endure.
The same holds true of contemporary Gothic fiction. Even the Hannibal series, which seemingly showcases a perfect Sadean villain (he even plays the harpsichord, come on!), is not Sadean itself. Despite the temptation, corruption, and fall of the hero, Virtue still prevails and triumphs (beautifully, I must say).
As “Love Crime” (the song playing during this moment) says it best, the characters embodying this thematic struggle play an ageless “deadly game”, on which depends the meaning not just of good and evil, but of life and humanity.
This narrative, however, bores a certain type of people who long to see ‘the villains win for a change’, who wish the world was shown as it ‘truly, realistically, accurately is’—from their point of view—in all its gritty darkness and villainy. One of these was the Marquis de Sade (that’s the first and last time I will dignify him of his title and particle).
Over the course of his career, Sade brought forward arguments extremely similar to the usual apologetic discourse excusing the Grimdark turn in storytelling. Like history as the true source of atrocities and the necessity to depict evil in the most horrifying (and graphic) ways to make sure that evil is understood and loathed as such.
In the preface to his 1791 edition of Justine, he bragged about his “originality” in inserting a plot twist that had “undoubtedly” never been done before: letting the villains win and rewarding them in the narrative while the Champions of Virtue remain forever miserable and meet atrocity after atrocity.
“The scheme of this novel (less a novel than one might suppose) is undoubtedly new; the victory gained by Virtue over Vice, the rewarding of good, the punishment of evil, such is the usual scheme in every other work of this type: shouldn’t we be tired of such a hackneyed lesson!”
In other words, it’s boring when the Good Guys win, especially if they don’t face horrific circumstances to make us appreciate their (seemingly vain) struggle.
The 1791 edition pretended to be a moralistic cautionary tale—and a “most sublime” one at that, as he praises it himself—destined to make people, especially women, “love Virtue more” by making her champion “suffer beautifully and sublimely.” Sade’s 1799 re-edition (La Nouvelle Justine) featured even more exploitation, more torture, more rape, and more murder. His intentions had taken a much darker turn.
By 1799, his sarcastic praise of Virtue had vanished. Virtue is now a “ridiculous idol” worshiped by “imbeciles” who fail to realize they will never be rewarded for their good deeds. It’s better to “abandon oneself to Vice than to resist it,” because “Virtue is too weak to fight against Vice” and choosing her side is a sure way to lose. For these reasons, he proclaims he must “courageously dare” to depict crime as it is, “that is, always triumphant and sublime, always happy and fortunate”, while virtue is “always dour and always sad, always pedantic and always miserable.”
Sade was also a troll, both in history and literature. On July 3, 1789, when tensions were already high, he screamed from his cell in the Bastille that prisoners were being butchered and that people needed to come and free him. (It wasn’t true – and the revolutionaries who later stormed the prison were disappointed to find out there were only seven prisoners inside). He also trolled the philosophical themes of the Enlightenment and the Revolutionary politics, parodying them, twisting them, and pushing them to absurd limits.
Sade weaponized irony and ambiguity in a way that wouldn’t seem out of place on 4chan (coughs). His prose is nauseating, yet inevitably boring. Even in the 18th century Shock and Awe™ got old pretty fast. His style ripped off other pornographic novels of the century, like Thérèse Philosophe (1748), in which porn was intercut with philosophical ramblings. Only for Sade, his blandly described, repetitive “porn” was made of rape, abuse, torture, and murder, while the “philosophy” provided “natural” justifications for these.
In short, Sade created his own Grimdark “satire” of Gothic horror in which he corrupted the roles of the main characters. The protagonist/Champion of Virtue, often an Ingénue (usually female but sometimes male), becomes a Doom Magnet bringing death and disaster everywhere they go. The calamities that befall the protagonist extend to every good person who has the misfortune to cross their path, befriend them, or want to help them. Nothing can save them, not even Providence/God is on their side. Their belief in goodness, honor, and virtuous principles is mocked, and they are punished for holding onto them.
Meanwhile the villain who, as in Gothic fiction, is often a Depraved Aristocrat or a Corrupt Priest or Nun becomes an overpowered Villain Sue, deflects karma, and is rewarded for understanding the ‘truth’ about ‘human nature’. This is the Sadean Narrative.
Sade’s excuses and defenses are the same as D&D’s: invoking historical accuracy, realism, human nature, ‘how things really are or were’, etc. But that’s bullshit. It’s a construction. As much as they pride themselves in showing the so-called truth of human nature, Grimdark writers and their apologists neglect whole parts of it, omit them, erase them in order to create, as Adam Roberts puts it, a cynical, nihilistic, ultraviolent world “where nobody is honorable and Might is Right”.
The same can be said of Martin Koolhoven’s Brimstone.
Brimstone, or the Misfortunes of Virtue
This 149 minute long movie is divided in four chapters: “Revelation,” “Exodus,” “Genesis,” and “Retribution”. The second and third chapters are out-of-order flashbacks explaining how we got here while the last chapter resumes where we left off in the first.
In the first chapter, we meet Liz (Dakota Fanning), who’s mute. She works as the town’s midwife. She’s happily married with two kids, a stepson and a daughter. Everything is going mostly well. However, her past catches up on her when she meets the town’s new reverend. As we’ll later learn, Liz’s real name is Joanna, and the new reverend she’s terrified of isn’t just a sadistic, hypocritical asshole who’s been chasing her for a while, he’s also her incestuous father. The main purpose of the nonlinear narrative serves to conceal this plot twist (somewhat predictable when you know the genre though YMMV).
The chronological beginning of the story is in “Genesis”, in which young Joanna (Emilia Jones) is 13 years old. On the night Joanna menstruates for the first time, she finds her father, the Evil Reverend (Guy Pearce), whipping her mother, Anna (Carice van Houten), in the barn for not putting out. It’s filmed in a voyeuristic, creepy way that hides behind the excuse of “exposing violence against women” to showcase torture porn. This is one of the many pointlessly graphic whipping scenes featured in the movie, another of which involves a child actress who was less than ten years old at the time of filming (Ivy George, who plays Sam, Joanna/Liz’s daughter).
Anna finds out her husband is creeping on their daughter, because “now she’s a woman” and her mother is not fulfilling “her wifely duties.” Presumably to stop her from telling everyone (I assume because it’s never explained), the Evil Reverend gets her a scold’s bridle. It’s ridiculous but hey, it does provide great imagery for the trailer and for the reviews to denounce the “extreme debasement of women.”
It doesn’t get any better from there on out.
Goodness Gets You Killed
Get used to this basic rule when watching the movie: each nice person dies horribly. Because goodness gets you killed. Because it’s written that way.
- Anna, Joanna’s mother who could have protected her – hangs herself.
- Johnny Sand, who tried to save her – shot with his own gun (through the Reverend).
- Nice Sex Worker Sally – hanged for murder.
- Random Mourning Father – shot in a rigged duel he could never have won.
- Nice Friend Elizabeth – stabbed with her own knife (through the Reverend).
- Nice Husband Eli – disemboweled (by the Reverend).
- Protective Teenage Stepson Matthew who tried his best to protect his Stepmom and Half-Sister – shot (by the Reverend).
- Nice Husband’s Father (and Mathew and Sam’s Grandpa) who was helping Joanna and Sam by hiding them – impaled to a door (by the Reverend).
The anvil needs to be dropped about what kind of world Justine, I mean, Joanna, lives in. It’s a Crapsack World from which there is no escape, as the rest of the movie will painfully remind Joanna (and the viewer) each time a spark of hope shines through.
Soon after the Evil Reverend gets the scold’s bridle for his wife, for example, Joanna asks her mother why she lets him treat her that way, and that she would rather die than live like that. This scene leads directly to Anna wandering off and immediately hanging herself right there in the church while her husband is preaching about how evil women are. Awkward. One of the few (maybe even only) people who could have protected Joanna is now dead.
Similarly, the whole subplot involving Kit Harington is ultimately insignificant and only serves to reinforce the lesson that good deeds will lead you to your grave. He’s a Thief With a Heart of Gold who wanders onto the Evil Reverend’s ranch, and Joanna hides him in the barn until he recovers from his wounds. He’s a Good Guy; he turns her down when she reluctantly offers herself to him. Johnny Sand (let’s just call him that) is the only one to oppose the Evil Reverend when he decides to marry his own daughter. He’s even all backlit with glorious sunlight, like a Prince Charming finally showing up!
Just as he’s about to shoot the Evil Reverend, he somehow loses grasp on his own gun —SOMEHOW—and the Reverend shoots him instead. Bye Johnny Sand. You tried. You just couldn’t win in this kind of narrative.
After her “wedding” to her father, Joanna runs away to the desert, where she faints, is found, and is ultimately sold to a brothel, Frank’s Inferno. Most of the women she meets are Mean and Catty and mock the 13 year-old child, except for one Nice Sex Worker named Sally who protects the last shreds of Joanna’s innocence. Needless to say, she meets a dire end; she’s hanged by the sheriff for murdering a man who wanted to rape Joanna. Even though she was just defending herself, as Joanna tearfully insists, Frank reminds her “there are rules,” and Sally knew not to defy them.
Several years later, the now grown-up Joanna (played by Dakota Fanning) witnesses a duel between Frank and a mourning father, who blames the former for his daughter’s death and demands a “fair fight.” Joanna, her friend Elizabeth, and all the other women working at Frank’s Inferno cheer for this unnamed man, an unlikely Champion of Virtue in this Crapsack World. He symbolizes The Good Father None Of Those Women Presumably Had:
“It’s men like you, who think their actions have no consequences, who are making this country turn into what it’s turning to. So, for my daughter’s sake, for every daughter’s sake, I have to kill you.”
Much like Johnny Sand earlier, he dies. The duel was rigged anyway so he could never have won. Cue the sad faces of the women who needed another reminder of the world they live in.
But one of the most over-the-top example of this disturbing ‘theme’ is the murder of Joanna/Liz’s stepson, probably punished because he wanted to become a nice person someday. The scene is utterly ridiculous. There’s a blizzard, you can’t see a thing, and yet the Evil Reverend manages to shoot the kid? Who only got out of the wagon because he accidentally dropped his own riffle? Why did any of this have to happen? Because it provides great imagery, I guess.
So, to recap: Joanna/Liz’s life sucks. Anybody who tries to save her, protect her, rescue her, or cares about her dies violently. Narrative Acedia strikes again.
The only decent person who makes it out alive is the doctor who refuses to cut out Joanna’s tongue when she comes up with the illogical plan of taking Elizabeth’s place.
Meanwhile, the Evil Reverend is near unkillable. Cut his throat and let him to drown in his own blood in a room you set on fire? He survives that! (The movie never really explains how, nor stops to ponder how impossible this would be even with the best medical care the 19th century could offer.) Set him on fire? He feels nothing apparently, he even seems to embrace it, either because he made a pact with the devil (which I would be willing to accept at this point) or because he’s a Secret Targ. Who the hell knows? Well, Hell might actually know. Liz/Joanna does shoot him out the window, but she should have made sure he was really dead, because he might be Michael Myers’s ancestor.
Not only does he have exaggerated physical strength—despite his age and job, I mean, he’s not a soldier, he’s a reverend—and can snipe a kid in a blizzard with a mid-19th century weapon (could this even be done?), he seemingly has magical powers or future technology allowing him to consistently find where Joanna is. Did he microchip her? Does he have a GPS? Just how small is the Old West exactly? How does he keep finding her?
It’s a very small world, mostly because it’s written that way, a way that makes no logical sense whatsoever once you stop and think about it for a minute.
In Which the Movie Falls Apart
Besides torture porn, Brimstone has several problems both in regards to its construction and plot. Mostly that it makes no sense. The nonlinear narrative, which seemed interesting at first, does a very good job at concealing this important fact.
When we first meet Liz, she’s mute because her tongue was cut out. How did this happen?
We learn this in the second chapter, “Exodus”, when Joanna takes her dead friend’s identity. Elizabeth was a Nice Friend, so of course this means something bad would inevitably happen to her. In a scene of very gratuitous violence, Frank cuts off her tongue because she bit a customer’s tongue who was trying to kiss her while she had repeatedly told him not to.
The local doctor checks her up and gives her a book on sign language, which she learns along with Joanna. It’s sweet. Liz wants to run, and finds a Nice Older Man (see where I’m going with this?) who lost his wife and doesn’t care about her past, as long as she can cook and doesn’t mind that he already has a son from a previous union. Liz is very excited, and asks Joanna to come with her, and they can pretend to be sisters. Again, it’s kinda cute.
But of course, this nice ending just cannot be. (BECAUSE IT’S WRITTEN THAT WAY.)
On the very evening they plan to run away, they get the visit of a Very Special Customer who pays every woman in the brothel, and Frank is adamant that no matter what he wants, you give it to him. Guess who it is?
Why, it’s the Evil Reverend of course!
He came to find Joanna and is Very Disappointed by “her life choices”—namely, being sold to a brothel—and decides he has to “punish her”. This sentence is said so many times throughout the movie I’m sure it’s only there for a specific part of the audience to masturbate to. But hey, ‘Human Rights’ amirite?!
Elizabeth hears Joanna’s screams and rushes to save her. As you recall, however, she does not survive the confrontation with the Reverend (she’s too nice), yet he somehow manages to survive both having his throat cut and being set on fire. And this is where the shaky foundations the movie is built on finally collapse.
Joanna should be free. She thinks her father is dead. (And he should be, even though he’s not.) The brothel is on fire. She could go wherever she wants, do whatever she wants. But, instead of, I don’t know, doing something that doesn’t involve cutting her own tongue out, she decides to take Liz’s place and identity. Since ‘her’ husband-to-be expects a woman without a tongue, she visits the doctor and asks him to cut out her tongue. He can’t bring himself to do it, so she does it herself.
I can’t stress enough how pointless and gratuitous this is, or how this makes no sense in any kind of reality. There was no reason for her to do that. She didn’t have to take Liz’s place. She didn’t have to cut out her tongue. But that wouldn’t be as Dramatically Satisfying, now would it?
The Voiceless, or Missing the Point of Themes and Metaphors
Brimstone completely fails to grasp any actual theme or metaphor present in the story (besides, maybe, the “Symbolic Blood on the Snow” shot, whatever that meant).
The typical excuse of “historical accuracy” to depict “reality” in all its grittiness mysteriously disappears once it comes to one of the main traits of the protagonist: her being mute because she has no tongue. The addition of that disability to the story is never really explored, neither metaphorically nor realistically. Brimstone treats a self-inflicted disability as a Shock and Awe moment, and then erases its meanings from the narrative, much like Jaime Lannister and Theon Greyjoy in Game of Thrones.
Other than a brief moment with the doctor telling the original Liz how to care for her wound and giving her a book of sign language, and one scene in which Elizabeth teaches Joanna what she learned, the subject is thrown away so fast it almost feels anachronistic. It seems so random and out of place, it’s hard to believe that sign language has a very old, very rich, very interesting history because the movie treats it like a footnote.
Brimstone alsο completely erases any struggle Liz/Joanna might have with her disability while living in the 19th century Old West; it never stresses how dangerous and potentially deadly it would be to cut your own tongue. Which, I might reiterate, was only done to fulfill the plot’s contrived demands. She never has any communication problems. It never actually impacts the narrative. It doesn’t seem to incapacitate her at all. The only reason it happens is so the film can remind us (again) this is a Crapsack World, and she/we just can’t have nice things.
Speaking of the ending, it’s the final cherry on top of the ‘life is crap and good people can’t be happy’ cake. A sheriff from the town where she worked in the brothel drops by, and we learn the original Elizabeth had murdered Frank just before ‘rescuing’ Joanna from the Evil Reverend. As Joanna claimed her identity, she is now guilty of her crime. Conveniently, her daughter (who had been her interpreter) is nowhere to translate for her, but she doesn’t even attempt to explain anything. There’s nothing to explain, really. As the sheriff who comes to arrest her puts it:
“You should’ve changed your name, Liz. How many Elizabeth Brundys you figure there are in this world? And how many of ‘em you figure don’t got no tongue?”
The sheriff wants to bring her back to the town to hang her and puts her on a boat. In one final act of agency (maybe), Joanna, who is cuffed with heavy chains, decides to throw herself into the river, and drowns. But it’s ok! We see her smiling underwater.
As this depressing epilogue unfolds, we hear the voice of a narrator, much like we had in the opening of the movie. We realize it was provided by a grown-up Sam. “I remember her well,” she says in the end. “She was a warrior. Always in control.” Well, except from the part where her entire story was controlled by men, including first and foremost by the director-screenwriter.
Life Isn’t Sadistic, The Writer Is
This is a movie that tackles a faux-feminist message yet fails to grasp the meaning in a woman cutting off her own tongue. Martin Koolhoven seemingly has no idea what genre he’s writing, borrowing tropes from Gothic horror, Grimdark edginess, exploitation movies, and slasher films. This would be sad, if he wasn’t so smug, somehow believing he’s the first director-screenwriter to ever tell a Western from ‘a woman’s point of view,’
“Koolhoven: So I decided to started (sic) writing one, and then I started thinking, What is it actually that I’m interested in here? Why is it such an interesting genre? There’s this almost boyish quality to it, this adventure and artistic idea of freedom. But then, as I was thinking that, I thought, that’s a very macho approach. It’s only a half-truth because for women, Westerns are not actually about freedom all. I had just read a book called In the Rogue Blood by James Carlos Blake about two brothers, and at some point, the sister runs away and they say, “Okay, what are her options? Either she’s going to marry someone or she’s going to be a prostitute.” And that sort of hit me. I realized that that side of the story is never really told. There’s not a lot of movies about that. Actually, none at all. Then I thought there has to be a movie from that point of view.”
Even if we ignore the many different female-lead Westerns that showcase a great diversity of roles for women, Koolhoven isn’t even the first to tell a story from a sex worker’s perspective; I found a film with four of them.
Though it’s rather simplistically true that, historically, women have more often than not been confined to make a choice between “being a wife or a prostitute,” there were still many ways to navigate and test these limits. Exceptions don’t make the rule, but they still exist. So let’s ignore how there’s a 1993 movie that proves Koolhoven wrong. And the fact that the Old West was a lot queerer than we think.
Nah, let’s just remake Justine, or the Misfortunes of Virtue, set it in the Old West and call it Brimstone. How Bold!
Koolhoven and some interviewers seem to think Brimstone is doing something new, and praise it as “daring” and “provocative”. It’s not. Nothing here is new. This story is old, really old. This has been done already, over and over and over. There are ways to tell the story of a girl then young woman who tries to escape from her abusive father. Brimstone was obviously not the way to do it. Unfortunately, this form of storytelling is in vogue, much like the Grimdark subgenre itself.
At the end of the day, Brimstone is the same old Grimdark exploitation nonsense, the misogynistic, nihilistic, and reductive roots of which go all the way back to Sade. Horror and cruelty do exist, yes, but you can choose how to write about it. You can choose what you show on screen versus what you describe with dialogue. Sometimes “Show, Don’t Tell” doesn’t (shouldn’t) apply. As such, it’s rather easy to tell when the purpose is… well, torture porn.
The existence of evil doesn’t negate the reality of goodness. “Realness” and “historical accuracy” don’t equal “sadistic.” Writers who choose to depict these stories this way and inflict it on us, however, are.
Images courtesy of Momentum Pictures and Sony Pictures Television
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.