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Analysis

The “Godwatch” epilogue sets up Wonder Woman for what comes next

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There have been a half-dozen independently named arcs in the Wonder Woman series since the relaunch as part of Rebirth, but they have all been in service to the two ongoing stories that have run concurrently throughout the series.  The Past followed Diana after she left Themyscira and entered “Man’s World”, also covering the ten years since.  The Present focused on the much more immediate conflict with Veronica Cale, and the fallout therefrom.  For the past several issues the two stories have grown closer and closer together — with  the Past establishing what has directly lead to the Present — and they finally collided in issue #23 during the climax of “The Truth”.

Issue #24, the epilogue to “Godwatch”, sets the stage for what is still in store for Diana and her friends.

It opens apparently right after the conclusion of the previous issue, and with the seemingly-innocuous time caption “Now”.  I say “seemingly” innocuous because the “Godwatch” arc has previously been part of the Past story, with all of the time captions stating how long it has been since Diana first left Themyscira.  The time jumps had been getting progressively closer and closer to the present, but it is not until this issue that the two arcs officially merge together, with an issue from one arc picking up right where the other arc ended.

Steve Trevor is anxiously waiting for Diana’s return from beyond the Mysterious Evil tree that has been popping up, and is surprised when Veronica Cale comes through alone.  He accosts her to figure out what happened to Diana, but in what I feel is a great subtle display that Steve is more insightful than a brutish thug, he recognizes from her expression that something serious has happened.  He doesn’t know what it is, but he backs away and even apologizes.  Keep in mind, the last Steve knew Veronica was still The Enemy, so there is no bond of familiarity between them.  Nevertheless, when he sees so much in her eyes, it merits a quick apology.

Diana comes through next and she and Steve have their happy reunion, then Diana explains that the mysterious girl with no face was Veronica’s daughter.  As they are distracted by their reunion Veronica makes her escape, and Steve tells Diana that Barbara Ann Minerva — who he insists on calling Cheetah — had left as soon as the day turned to night.  Together they decide that it is time for them to take their own leave of this cursed place, and then we learn that Cheetah had not truly left after all.

It seems that Cheetah had not abandoned the motivation that had been driving Barbara Ann for more than a decade, and she returns to the Mysterious Evil Tree in order to find a way in.  Several earlier issues of the series had covered Barbara Ann’s academic and adventurous search for the supernatural and the divine, and throughout the series she has wanted to discover what was Out There.  She wanted to find the secrets that most of mankind did not even realize were out there, and that curiosity had gotten her trapped in this hellish existence as the Cheetah.  Now, with the Tree right there, it seems like her goal is finally at her fingertips.  She can finally get the answers she has suffered and sacrificed for, if only the Tree will let her pass through to the other side

All she wants is just beyond her grasp…

The tree says “no”, vanishing into dust after tossing her aside (literally).  Themyscira is beyond her reach, it will always be beyond her reach, and at this final rejection the Cheetah swears vengeance on the Amazons and gods alike.

The scene then switches over to Steve and Diana recuperating at Etta Candy’s home and begins to fill in some of the missing info from the series as a whole.  Sasha Bordeaux, who had been replaced with a robotic duplicate by Veronica Cale, is recuperating in a hospital after she had been rescued earlier in the series.  Ferdinand the Minotaur (kythotaur) has gone his own way and left a message with Etta that Diana knows how to reach him if necessary.  The filling-in-the-details bits lead into the next conflict, however, when Etta confronts Diana and Steve over leaving Barbara Ann behind, still stuck as the Cheetah.

This picks up the argument that Steve and Etta had been having across several earlier issues over whether or not they could trust Barbara Ann.  Etta is obviously not impartial — Steve even directly telling her to try and take her personal feelings for Barbara Ann out of the equation — but that doesn’t mean she’s wrong.  Steve had never trusted Barbara Ann after she was rescued from the curse the first time, and he was quick to blame her and doubt her during situations where she was just trying her best to help her friends.  It’s clear that he is just as slanted in his perceptions as Etta is, and Diana steps in and points out that Etta is right: They did abandon Barbara Ann.


They could have stayed and looked for her at the location of the Tree, they could have called in their military or civilian contacts to help search the area, but instead they decided that they had had enough and quite literally went home.  Diana cannot let things stand that way, and so she decides to seek out Veronica Cale and resolve everything once and for all.

Veronica in turn is having her own existential crisis as she deals with the total, final loss of her daughter.  She knows that she is never going to get her daughter back — ever — which makes everything that has happened up until now completely pointless.  All her hard work, all of the pain she caused others, everything she sacrificed, was all for nothing.  She even lashes out at Adrianna, pointing out that she is not really Adrianna, just a digital copy, and so Veronica truly has absolutely nothing left in her life.

The Cheetah chooses this moment to reveal her presence and launches an attack on Veronica.  Whether you can call this vengeance, punishment, or judgement, she is not here to force Veronica to change her back, but only to kill her. And she would have succeeded, too, if not for Wonder Woman’s arrival.

Throughout their fight, Wonder Woman continues to plead for Barbara Ann’s re-emergence, continues to plead for her to return to her old life, and when the Cheetah refuses, Wonder Woman defends Veronica Cale with all her might.  She saves Veronica’s life despite all that has happened, because that is what Wonder Woman does.  However, also despite all that has happened, Veronica pointedly throws in Diana’s face a declaration that they will never be friends.  She cannot move past their history, cannot let go of the anger and blame that fills her, and so she will never be able to move on or forge new connections elsewhere in her life.

This issue as a whole focused a lot on who characters are.  Both who they are to other people, and also who they are to themselves.  Cheetah claims that being the Cheetah is who she is.  She says that Barbara Ann Minerva is gone, never coming back, and that she doesn’t want Barbara Ann to come back anyway.  She even claims that one of the reasons she is trying to kill Veronica is because she is the only person who can change her back, and wants to sever that possibility.

However, despite all these claims and actions, Diana does not accept that this is who Barbara Ann truly is.  She continues to believe that this is the influence of the curse affecting her mind and her judgement, and that she knows Barbara Ann better than that.

And Diana might be correct.  When Barbara Ann was last cured of her curse, she returned to her old non-cannibalistic, non-villainous self.  She did not continue to bear any of the grudges she had nursed as the Cheetah, not even for any of the beatings she had taken at Diana’s hands (And let’s be honest: She had to have been badly beaten on several occasions given that she was fighting Wonder Woman).  The Cheetah really was something imposed on her from outside, not an expression of her own nature.  However, it’s also possible that maybe Diana is wrong, and now Barbara Ann really has been lost within the Cheetah this time.  She no longer shows any desire to break the curse, and she has suffered setbacks that would have scarred and traumatized even her non-transformed self, so it could be she’s now taken on an honest hatred of others.  Maybe if the curse is broken she will still have all this anger inside of her that Diana cannot do anything about.

Veronica has to face the same internal debate, but instead of facing off with Wonder Woman who sees the good in her, it is the Cheetah telling her that she has to accept that she isn’t good.

And if you can’t trust a cannibalistic demon to recognize a villain, who can?

Everything Veronica has done has had a noble goal: To rescue her daughter.  Even Diana would have called that a righteous cause.  But in pursuing that cause she has done horrible, horrible things to countless people across the planet.  As trite as the old cliche is, “the road to hell is paved with good intentions” holds true, and her hope of rescuing her child has long since doomed Veronica to that selfsame hell.  She has convinced herself that everything she did was worth the cost if it meant rescuing her daughter, but now that she can’t rescue her daughter, now that she knows there is no validation coming, Cheetah tells her that she has to face the facts: She has killed, and tortured, and maimed, and she is not the hero of this story.

The issue itself is relatively light on action, but what there is manages to work. We see just how easily (relatively speaking) Wonder Woman can suppress the Cheetah when it comes to sheer martial prowess, which again reinforces that Diana has never wanted to hurt or kill Barbara Ann.  She could have done so long ago.  What drives the story this time is the personal conflicts, both internal and external, as the different characters struggle with accepting what they have done and where they can go from here.

Just about the only thing which did not work for this issue was the reunion kiss between Diana and Steve Trevor, and to be honest I’m not sure I can articulate why.  It just didn’t have it.  It seemed almost perfunctory, as though marking off a box on a checklist:  After “Happy Reunion” comes “Big smooch”.  It doesn’t derail the whole issue, it is a slightly-off-groove story.

The issue closes with the perfect setup for both the end of Greg Rucka’s authorial run on this series (Which is coming up way too fast) and for the beginning of the next story: The literal caption of “What now?”  Veronica Cale has been defeated, with various law enforcement agencies seizing her Evil Assets and without any solid motivation to continue her vendetta anyway.  Diana has subdued the Cheetah and can now work with Etta Candy to find a way to break the curse and return her to being Barbara Ann Minerva.  Covered in the preceding issue, Deimos and Phobos are no longer a threat, and Diana knows that there is no point in even trying to find a way back.  All (Or at least most) of the plot lines have been answered, and that leaves the question up in the air.

Things aren’t finished, far from it, but as to what is going to happen to Diana tomorrow….who knows?

We’ll have to read to find out.


Wonder Woman #24 and all images courtesy of DC Comics

A fan of media and fandoms alike, partial to overly-analytical fixation on minute details that most people simply do not care about.

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Analysis

Sith Inquisitor’s Journey to Freedom

Angelina

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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.”

Sith Academy; a gloomy place, isn’t it?

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.

How can it be Dark Side? It’s fairly innocent… or is it?

Your Choices

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.

Sith Inquisitor

My own perfect cinnamon roll of an Inquisitor

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.

When they spoke of finally knowing true freedom (in being released to the Afterlife) I really cried from happyness

True Freedom

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.

 Conclusion

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

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Analysis

Will Has a Women Problem

Michelle

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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.”

“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

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Analysis

The Source deals with Feminism and Intersectionality

Annedey

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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.

Not exactly an easy way of doing things.

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.

“Your hearts are dry and thorny like this well.”

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.

Yes you want to be her.

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.

Yes.

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.

Conclusion

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.


Images Courtesy of EuropaCorp

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