After six seasons, FX’s Justified came to a perfect close this week. Though buckets of blood bathed the episodes leading up to the finale, the last hour was all about quiet, hard-won farewells. Viewers said goodbye to so many memorable characters. Timothy Olyphant’s Raylan Givens, the gunslinger who, despite his white hat and noble intentions, was never quite the good guy he hoped to be. Joelle Carter’s Ava Crowder, the fierce survivor who struggled to look out for #1 and damn the consequences. Walton Goggins’ Boyd Crowder, the charismatic black hat to Raylan’s white and the other side to his coin. Tim, Rachel, Art, Wynn, Loretta…this season’s Big Bad, Sam Elliott’s Markham. Justified was a veritable community of personalities, almost impossible to leave — just like Harlan County itself, constantly drawing its residents back into damnation.
Writing a sexual assault into your canon? Take a look at this handy-dandy checklist first:
When is it Okay to Use Rape as a Plot Device?
And, yet, it persists. So many television shows, both daytime and primetime, revert to rape as a “deep” or “edgy” stunt to move a story forward, reveal a piece of characterization, etc. The latest being HBO’s Game of Thrones. Sonia Saraiya at the AV Club wrote a brilliant takedown of the show’s insistence on changing consensual sex scenes to rape scenes here and there’s not much I can add to that but my anger. And my exhaustion.
I’ve recently come back to Days of our Lives after a several-year hiatus. In a sea of new faces, there are still the familiar characters. Jennifer Horton. Hope Brady. Marlena. Sami. My geriatric Greek tycoon boyfriend, Victor Kiriakis. And Elvis “EJ” DiMera. To my dismay, it appears absence has made my heart grow fonder…because I’m having a difficult time holding onto the giant grudge I have against the character.
Make no mistake: I have successfully hated EJ for seven years. Ever since his introduction as a race-car driver/shady character in 2006. It did not matter to me one whit that actor James Scott is tall, dark and handsome. And when EJ raped Sami in a car in exchange for saving Lucas Horton’s life — and then still left Sami and Lucas to die — I was done with him. Of course, the Powers That Be at DAYS were not. And they continued to develop him as the son of legendary villain Stefano DiMera and a leading man…going so far as to have his rape of Sami hand-waved away so the characters could fall in love.
Hell. To. The. No. I’ve said it before: Falling in love with your rapist is a one-trick pony, a gun you only fire once, and daytime’s been there and done that. General Hospital’s Luke and Laura. There is no need to try and recreate that “magic.” EJ and Sami’s “rapemance” is as deplorable as that of OLTL’s Todd and Marty in 2009 and GH’s Carly currently falling in love with the man who engineered her son’s rape and raped her best friend’s wife. There are some things no amount of retconning (aka “retroactive continuity”) will fix, because viewers don’t forget. You can erase it from the timeline, but you can’t wipe a mind.
Sometimes, when I talk about “white people” in front of actual white people, there’s this pause…this moment of awkward. It’s a combination of “Did she just call out our skin color?” and “But…we’re people.” Yes. Welcome to my world on a daily basis. How does it feel? That, my friends, is the luxury of being the default in the western world. “People” means “white.” “American” means “white.” The “reader” is white. The “audience” is white. It’s the baseline, the normal…and why would you point that out?
That’s EXACTLY why I point it out. Because “people” should encompass everyone, but it doesn’t.
“Being The Default is the largest privilege granted to white Americans, yet it is so deeply entrenched it is the most invisible,” says Kartina Richardson in this April 24 article on Salon. And she’s right. Because it’s there in everyday speech, in the simplest of words: “us,” “we,” “them.” In the South Asian and South Asian American community, elders still say “Amrikan” to mean “white,” even if they themselves are citizens and their children identify as American. Because it’s the norm, the bottom line — and, often, the aspiration.
There’s this unspoken, perhaps even unconscious, sense that the only true western legitimacy, in terms of success, place and identity, is in whiteness. Everything else is the Other. “Black people.” “Indian people.” To just be people is the goal, the driving force of ambition. Too bad that slot is occupied…largely by folks who don’t even realize they have it.
It would be nice to never, ever have to specify someone’s race, ethnicity or skin tone. It really would. To just be like, “Duh. This is a person. With a name. A history. An individual identity.” I’ve been fighting that linguistic battle my whole life. But as long as Default privilege keeps fighting back, the deck is stacked. As long as “everybody” and “anybody” is presumed to be white…nobody wins.
J.J. Abrams’ second installment of the rebooted Star Trek franchise delivers classic geekery at warp speed, ratcheting up the action sequences, the rapid-fire dialogue and laugh-out-loud moments and the poignant emotionalism at the root of Spock and Kirk’s famous friendship. It’s a film that any fan of the TV shows and prior films will enjoy, rife as it is with in-jokes and shout-outs and a gorgeous flip of a truly memorable sequence in Star Trek II: The Wrath of Khan. However, it’s another sort of flip that holds Star Trek Into Darkness in limbo: the controversial casting of Benedict Cumberbatch as the film’s central villain.
I’ve been attending conventions and conferences since I was a teenager. I’ve been to fan cons, to professional conferences, to spaces where men dominated and to ones where women empowered each other and created unforgettable bonds. Coming back from the 2013 RT Booklovers Convention, at which I worked as a representative of RT Book Reviews magazine, I have a lot of Thoughts about gender dynamics and safe spaces. (I can’t promise I’ll articulate any of them adequately!)
I have never felt safer at a convention than when I’m at one for women’s media. It’s such a sisterhood. A shared joy. A meeting of minds and passions. Be it soaps or romance, that is when you’ll see me at my most Me. (Assuming I’m not sleep-deprived and/or hysterical from nerves.)
And I can tell you exactly when I begin to feel diminished: when a man, SO aware of his Mighty Thunderstick, holds court and treats me like a silly little girl. I go from being a competent writer and editor, and proud published author, to an interloper in a boys’ club. I hear my voice get higher in response. I feel dumber. I feel naked. I feel like someone just took my safe space, and my brain, away from me. It’s pretty awful.
Author John Scalzi*, whom RT honored with a Reviewers’ Choice award for his science fiction novel Redshirts, was not part of a boys’ club. Neither was writer Andrew Shaffer. They were allies; they acted as part of the greater community, happy to be included in a group of women, not to rule it. They may be controversy magnets on the Internet (and who isn’t?) but, in person, they couldn’t be more welcoming and welcomed. It was just really cool to have them there. Not as men, not as dudes, but as people. Like the rest of us.
Ah, the ‘70s and ‘80s bodice ripper era…when men were men and women were raped. The romance community likes to filter it through a rose-colored rearview mirror, chased by alternating mild chagrin and feminist horror. But more than 30 years later, those misogynist underpinnings of forced seduction romance — mostly overpinnings, if we’re being honest — are alive and well. Be it the sheikhs and tycoons that populate the Harlequin Presents line, J.R. Ward’s Black Dagger Brotherhood series, the plethora of motorcycle club contemporary romance and club-owning Dom BDSM erotica or your Christian Greys and Gideon Crosses, the controlling alpha-male asshole protagonist hasn’t gone anywhere.
The argument one could make, of course, is that female characters have sexual agency in all of these books. They like being treated poorly (i.e. “challenged”) and told what to do as long as they get off and get their Happy Ever After. But that’s no different from old-school forced-seduction, than the sexual revolution happening on the page long before Kristen Ashley starting burning up the Amazon charts. It didn’t matter if a heroine got roofied and locked in a trunk or kidnapped and tied up in a wigwam, she always had an orgasm. The highly questionable, but tried-and-true, “No, no, no…yes!”