Over the past few decades, the media has been obsessed with characters representing minorities in society who haven’t received much recognition on television before. The hope is that a person of colour might see a black Hermione or a girl might see a female Doctor Who and think “that could be me!” and feel represented in British Society.
Like most of British society, I hold the view that unless a character’s race is an important part of their role, we should give actors parts based on their skill and performance. I also believe that casting directors should be able to have the freedom to cast whoever they want in their movies. After all, if they make the wrong decision they will pay the price. For example, the Ghostbuster reboot which had an all-female main cast was widely reported to be a flop, warning future filmmakers of the consequences of casting on diversity for diversity’s sake.
The original argument was for minorities to be proportionately represented on television as they are in British society. However, same sex attracted people and ethnic minorities are now over represented on screen. BAME people account for 13% of the national workforce but 23% of on screen roles. Lesbian, gay and bisexual people are nearly twice as likely to appear on television.
In addition, the presence of LGBT and ethnic minorities on television is often dedicated to side characters. On some occasions, the producers try to lump as many diversity points onto one character while still having a white straight protagonist. For example in the series Sex Education, the three main people of colour are Eric, Ola and Jackson. Two of these characters have had same sex relationships and the other has two mums and attempts to get into a relationship with a “non-binary” Sudanese-American character introduced in the last season. Meanwhile, the two main characters, Otis and Maeve, are both white and straight. This identity points dumping ruined the character of Jackson, who is already dealing with the conflict of being a high achiever who can’t meet the expectations that he and his mums have for him. Instead of trying to figure out who he is, his main issue this season is getting with a rebellious “non-binary” girl who is annoyed at him for seeing her “as a girl” instead of “non-binary”.
This isn’t to say that there can’t be shows and movies which have BAME and LGBT people as the majority of the cast. It’s not unrealistic for a show about people in London for example to have an ethnic minority cast. For example, the show Chewing Gum, featuring a black main cast, was extremely funny and well produced. The show was created by Michaela Coel who grew up in East London so the reason behind the diversity casting is because of her own experience and background, rather than some white middle class liberal who wants to gain diversity points. This contrasts to the announcement of there being a production of Anne Boleyn on which the actress who plays Anne Boleyn is black. The show’s creators admitted to adopting a “race conscious” approach, rather than picking who could play a realistic Anne Boleyn or even a colour-blind casting of who is best for the role.
However, it seems that identity and virtue signalling is everything nowadays. The left even are trying to make horror villains gay icons. Vox published an article on “How the Babadook became the LGBTQ icon we didn’t know we needed”. In addition, even Chucky has shown his respect for the LGBT community as he accepts his “gender fluid” child, stating “I’m not a monster”. It’s odd that the LGBT community are so keen to relate themselves to monsters who are hostile towards children. Surely these aren’t characters you want to represent you?
Most recently, Doctor Who has fallen victim to diversity casting. Recently, Sex Education’s Ncuti Gatwa has been casted as the next Doctor, taking the place of Jodie Whittaker. In addition, a new character called Rose will be played by a biological man who calls himself a transgender woman. Many have scoffed at those who have had complaints about the Doctor and his companion changing identity. For example, The Guardian wrote:
“There is no way on earth that a shapeshifting ancient alien god and an interdimensional explorer trapped in a parallel dimension should be played by anything other than a white British guy and the woman from I Hate Suzie respectively.”
However, this shifts from the original idea that minorities need to be represented for people to see themselves in the characters. Modern media holds the conflicting ideas that identity is everything and to act ‘colour blind’ is racist and that a character can be any colour. Not only is it important that we display the voices and experiences of minorities, but it doesn’t matter if we replace traditionally played white characters with ethnic minorities.
Personally, I don’t need to share the same identity as a character in order to relate to them.When I was younger I used to dress up as Harry Potter and got offended when I went to The Making of Harry Potter and somebody thought I was dressed up as Hermione. That is because I identified with the character of Harry Potter. It didn’t matter that he was a boy as I aspired to be as brave as him when I was young.
Though I’m doubtful, I hope that the media sees the error of its ways and focuses on providing thought provoking entertainment that doesn’t rely on progressive pandering. Being purely identity-focused on unchangeable characteristics such as race, gender and sexuality is creating a generation full of narcissists. A movie shouldn’t be good because it has people who look like you; it should be good because of the message it sends.
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Conservatives Against Equality
The Trojan horse has made its way inside the Conservative Party with an egalitarian agenda it will stop at nothing to implement, including rooting out any trace of actual right-wing policy. However, the enemy within has only been given power by the fact that the Conservatives themselves have no clue what they stand, giving space for leftist ideology to creep in through these infiltrators.
The Conservatives’ abandonment of conservative principles in favour of identity-driven equality can be exemplified through the Equalities Minister speaking at an LGBT event of “Celebrating 50 Years of Pride” with the new, even more hideous pride flag behind him. For one, there should be no such thing as a “Minister of Equalities” (as there also shouldn’t be a “Minister for Women and Equality”). These positions are divisive and identity driven. Secondly, a Conservative MP should not be proudly endorsing a flag that represents gender ideology which encourages children to go through harmful surgery in order to “change gender” and for women to have their toilets and changing rooms infringed upon by perverted males who are into autogynephilia.
Then there are the Conservative Members who are more concerned about Laurence Fox posting an edgy tweet making fun of gender ideologues than the actual gender ideologues themselves. They seem to be silent when the left captures our institutions and calls for destructive and disturbing policies. However, when a Conservative decides to stand up for conservativism in the slightest, they go ballistic. While they claim to be “economically conservative”, they spend all their time arguing with right wingers about social issues, lecturing them that there’s “bigger fish to fry” (while they themselves barely even discuss or talk about these “bigger fish”). Who’s going to tell them that they are participating in the culture war they claim to hate by trying to silence any conservative who stands up for our culture? It would be better if these crypto leftists left the party and joined the Liberal Democrats or the Labour Party.
Conservatives should be against equality, both in the economic and social terms. This doesn’t mean you should be cruel to people. You can argue for better treatment of groups without having to advocate for equality. I don’t treat people nicely based on whether they’re equal to me. I don’t treat people of different races or sexualities the same because we’re equal, I treat them the same because I believe it’s nonsensical to base my treatment of someone on irrelevant characteristics. Furthermore, we shouldn’t treat people equally. A ten-year-old should treat an adult stranger different to the new kid in the playground. A teacher shouldn’t give equal attention to the kid who doesn’t need help and the kid who does. These are both forms of discrimination. We discriminate every day.
However, leftism has convinced the public that “discrimination” is represented by its worse examples and “equality” on its best examples. However, doing things for the sake of equality is stupid. We should embrace that everyone is unique with both skills and weaknesses. We should promote people’s unique skills through the free market. Capitalism is a system that that discourages people discriminating for reasons that do not impact people’s skills (for example, the economist Thomas Sowell has done incredible work to show how racism is unprofitable for businesses). Yet capitalist systems tend to be the most unequal in terms of wealth and income. You can favour social progress and be against unfair treatment without favouring equality.
Eammon Butler states in his book Economic Equality:
The universal case for equality is that, in all important respects, human beings are alike. They have a similar identity, which implies that they are essentially equal and should be treated equally. There are problems with this suggestion. For a start, we cannot infer equality from identity. The numbers 3 and 5 share the identity that they are both integers. But they are not equal; and nor can we make them so. Though people speak glibly of humans being “born equal”, the plain reality is that they are not. They differ naturally in many ways – physically, intellectually and morally.
If the Conservatives want to win, they need to show conviction and know what they believe in. Equality is antithetical towards right wing ideology, and we should not be ashamed of this fact. We shouldn’t have a party where MPs can easily switch between “the left wing” and “the right wing” parties. To the people in the party who are more concerned with the right than they are the left, we should politely guide them to the door. No Blairites please!
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Modern Feminists and the Anti-Bildungsroman
Over the recent decade, we have seen a certain type of storyline rise to popularity among critics. The plot usually follows a female character with some type of special power or circumstance who, by virtue of said power, is beset by some type of related conflict; sounds normal enough—this is the beginning of virtually every story.
However, in this case, the conflicts that develop around said heroines’ uniqueness do not always follow their growing or learning how to ethically or effectively use their power. Instead, it’s the opposite: their stories or the cultural interpretation thereof often involve the discovery, decision, or insistence that they do not have to grow or learn, but that it is society or the surrounding world that must adapt to and accept them. From Elsa, to Carol Danvers, to Rey (it cannot be stressed enough) Palpatine, some of the most lauded heroines in current media have followed this type of storyline—which, due to the the ways the characters interact with their settings and conflicts, involves several tropes of a common story type, the bildungsroman.
However, the plot structure and underlying tone of the aspects emphasized as worthwhile by critics classify them as an attempt to form a new genre: a kind of anti-bildungsroman that, in line with the beliefs of the modern feminism that usually advocates said storyline type, actively seeks to subvert the assumptions of the individual’s (here, the individual woman’s) relationship with the broader social structure. The execution of this storyline ironically does the female characters—and stories with female leads generally—several disservices that run counter to the stated goals of those behind the stories.
The Bildungsroman: what it is and what it isn’t.
Just for a refresher, a bildungsroman—German for “education novel”—is a story that intertwines the character’s ethical, psychological, and spiritual growth with the resolution of the conflict. Alice’s Adventures in Wonderland is as much about Alice’s learning not to behave like all the examples of toxic femininity she encounters through the story as it is actually getting out of the rabbit hole. Harry Potter learns as much about how to be a responsible young adult as how to actually cast spells (with the when and why invariably outweighing the what). The bulk of Aang’s story in Avatar: The Last Airbender involves not his learning how to use his powers as the Avatar, but his learning not to be a childish idiot who sticks his foot in his mouth at every turn. And who can forget Uncle Ben’s injunction to Peter Parker (established by Spider-Man: No Way Home as a theme that transcends the multiverse) about power and responsibility? It’s become nearly as iconic a scene as a still novice Luke Skywalker running through Dagobah with Yoda on his back, with nary a trickle of Force to be discerned by the anticipating audience.
In each of these, the external conflict is resolved and made more complex and dramatic by the character’s resolving some type of inner conflict—usually involving the growth from maturity to immaturity, selfishness to sacrifice, idleness to responsibility, &c.
Now, not every story is or needs to be a bildungsroman. We don’t always need heroes that change or grow—sometimes we need the opposite! It’s no coincidence that Conan the Barbarian and Superman, both unique because of their unchangeability, came out of the flux of the 1930s, when the average Joe, Jane, Jimmy, or Jill might rather enjoy a character who stands in opposition to the instabilities and shiftings around them.
There are many other examples of changeless characters coming out of changing times. The Lord of the Rings—specifically, Aragorn—came out of Tolkien’s effort to preserve English virtues and history through the trauma of values that were the Great War and Modernism (though, granted, Aragorn did a lot of growing up before Frodo receives the Ring). Later in the twentieth century, James Bond stood like a modern Conan (the parallels between their stories and characters are many, despite the obvious differences) amidst the unease of the Cold War. Nor does it always need to be so dire as these: in the ‘90s, Forrest Gump’s charm often inhered in how his simplemindedness showed how the problems around him might really have simple answers (at least within the bounds of his film), and the Dude of mistakened Lebowski fame would not be His Dudeness if he grew through his misadventures.
I list these to head off any claims of my placing standards on the female characters discussed below that I won’t apply to male characters. This is also why, other than this sentence, I won’t use the oft-bandied phrase “Mary Sue;” besides simplifying the argument into mere stereotypes, the phrase, or its male counterpart Gary Stu, implies that strong or unchanging characters are always bad or always lack depth. They may very well be, but my interest is not to simply descry it but to find out why. I come at the topic and characters below with one goal: to encourage complex characters and stories that do what we need art to do—to concretize the values we need to experience at a given time in ways that are timeless. Sometimes that can best be achieved by characters that grow, sometimes not; usually we need iterations of both simultaneously—often in the same story.
But the stories I’m focusing on do assume the complexity of a bildungsroman framework; in each case, the female character is placed in a situation where she is expected by society (and, often, the audience) to grow and she either flatly refuses to do so, or she grows in ways counter to her respective canon. In fact, the characters often self-consciously push against and subvert the canonical expectations for growth in various ways.
Elsa: Letting Go of Past Story Structures
The phenomenon that was Frozen was hailed by many as a deconstruction of the archetypal Disney princess story. Its setup follows many tropes of said genre: a girl of unique birth locked away by parents to prevent a misuse of her powers. However, from there the movie breaks the tradition of stories as late as Rapunzel (2010), which, itself, broke several tropes while adhering to familiar formats. Parents? The uredeemed source of her abuse. Prince charming? Actually the villain. The protagonist’s powers? To be used without compunction after letting go (of expectations? Of the need for self-control? The unnamed antecedent of her song’s Dionysian “it” is as multifarious as the audience might wish).
It would be wrong to say Elsa experiences no growth or argue her character lacks compelling internal conflicts. After going to live alone on her mountaintop (notably embodying several characteristics of the traditional ice queen villain), she does come down and remit her isolation upon learning that by embracing her powers she has caused an eternal winter in Arendelle. Furthermore, not all of the movie’s deconstructions are negative. While the ending of stories in a marriage signifies the restored balance and completion of comedy—and is much more than merely reducing the female to an ornament of the male and his restored power structure, as the format’s feminist critics allege—Frozen’s replacing the familiar eros-driven love story with one of phileo between sisters should be welcomed as an expansion of the virtues and values we enjoy being explored. However, from there we are faced by the irony that the same voices who push the “sisters > prince charming” dynamic often insist on seeing eros in any story featuring two male friends—an unfortunate sexist double standard…
My focus here on Frozen and the others is as much on the cultural response to the stories as the stories, themselves. The danger to Anna posed by her love-at-first-sight relationship with Prince Hans was not rectified by placing it against the authentic relationship with Kristoff; rather, the reversal of the form was turned retroactively onto all other Disney stories about love at first sight, which had the tone less of adding complexity that had never been established than of burning down the now malicious parts of what had. Finally, it was not a song about Elsa’s learning how to judiciously use her powers that every parent of kids of a certain age (or, let’s face it, young adults, too) had to listen to on repeat for the rest of 2013 and most of 2014. It was a song advocating the audience (especially girls) vicariously “Let it go!” along with Elsa. It was a kicking song, and I don’t begrudge any young girl for making her parents want to break a speaker because of it, but it did, thematically, set the ideological perspective and tone for latter heroines that would come after.
Rey Palpatine: A Victim of her Advocates
The next female character who declines to grow in ways prescribed by her lore is Rey Palpatine. Establishing Rey’s arc or lack thereof is difficult due to her appearing in three films with different directors with conflicting goals for her movies. The lack of unified vision, added to the retconning the trilogy exacted on the established Lucas canon and universe, makes it difficult to treat Rey’s plot either as a uniform whole or as a consistent intentional decision to buck expectations.
Nonetheless, against the backdrop of Luke’s growth under Yoda Rey’s development falls short. While Luke’s progression is drawn over two, if not all three, of the original movies, Rey is able to, for example, beat Kylo Ren the first time she touches a lightsaber. This could be possibly excused if, like Anakin, she were shown to have a high concentration of midichlorians and, thus, a more preternatural adeptness with the Force; however, such a reveal, set up by Abrams in The Force Awakens, was rejected by Rian Johnson in favor of making her a nobody in The Last Jedi (a more vicious crime against Star Wars lore than simply creating a new heroine backstory—or, really, refusing to—might necessarily entail). Abrams, then, had to pick up the pieces in The Rise of Skywalker to make what he could of Johnson’s arson. Central as it is, Rey’s disjointed arc is by no means the only problem with the new Star Wars trilogy.
Enough has been written and recorded about the canonical breaks between the original and the prequel trilogies and Rey’s that I don’t need to belabor the differences. Furthermore, many of Rey’s lacks can be explained, and possibly excused, by acknowledging the directorial conflicts of the trilogy. However, this does not excuse how Rey’s character was marketed: she was, we were often reminded, a female heroine, and that to reject her and all the incongruous elements of her story, even for the sake of preserving the larger Star Wars universe in good faith, was nothing less than sexist bigotry resulting from an irrational fear of strong women (which, strangely enough, had not reared its head in response to any of the other strong, complex females in the Star Wars universe).
The insistence among Rey’s defenders that she is a prime example of both a strong female character and a victim of unfair bigotry unfortunately sets the bar quite low for what is considered a good character—besides disregarding a devoted fanbase who were already invested in finding in the star of the revival trilogy as much depth as they could. Again, my focus is less on whether Rey consistently grows (if she does, it is disjointed due to director disagreements and rushed in a “tell rather than show” kind of way—a sin for character development of any genre). At issue here is the implied insistence that she should not have to grow—that standards of growth from a previous canon are at best an unfair standard and at worst a reactionary response from a threatened tradition of supposedly (but, as fans know, not really) male lore and predominantly male audience against a new heroine. That Rey’s greatness, thus, relied on the spectre of sexist pushback for its vitality and clout did not strike anyone as an issue to be worried about.
Carol Danvers: The Unrestrained Will
My final example of a heroine who rejects the complexity of growth prescribed by her own canon—and the one that does so most openly—is the adult version of Elsa, Marvel’s Carol Danvers. Begun in production as Elsa was gracing theaters, Captain Marvel (2019) added the element of the character’s rethinking her entire culture—of decolonizing her mind, as it were—to the formula, providing her further justification to eschew the self-control and prescribed growth of the traditional superhero story.
Danvers’s story begins with her training opposite Jude Law’s Yon-Rogg, who is preparing her to be a Kree warrior. It is against his mentoring admonitions to control her impulses and to use her head over her heart—and to become “the best version of yourself”—that the rest of her story takes place. Through the movie, she pieces together her disjointed memories to discover the Kree she is fighting for against the Skrull are actually the baddies, and that she is a human whose powers come from Kree technology she destroyed but which Yon-Rogg and the civilization’s Supreme Intelligence AI are trying to still utilize in her.
For the present I’ll ignore the fact that the movie reduces the 1970s “Kree-Skrull War” match between two bloodthirsty races in into a one-sided genocide of the Skrull by the Kree that resembles less the source material and more the modern revisionist simplifications of history into binaries between rapacious, patriarchal colonists and innocent, victimized indigenous. At issue here is that the heroine discovers, in a reverse-brainwashing sequence, that she has actually been misled (gaslit, brainwashed, Stockholm syndromed, all the common terms) by the Kree, and that her assumptions and even her own mind are complicit with the evils of the Kree. She must, thus, decolonize her worldview as she works out whence she got her powers—which, upon learning she gained them through an attempt to save the Skrull, could be used without any moral qualms about their being created by the antagonists.
Within the bounds of the movie, it’s a compelling conflict, and one which does necessitate Danvers’s rethinking and rejecting Yon-Rogg’s inducements to use her powers in what the Kree would say were the right ways (but which are, in reality, against her practical and ethical interests). However, it is not, technically a character arc: rather, it is an anti-arc. Released from the usual inducement to meet power with self-control, or to clearly delineate between her power and her self (with the former always needing to predominate), Danvers simply uses her powers.
This results in some great cinematics that, I’ll admit, meet the desire for a decent action movie with a satisfyingly insolent protagonist. However, Danvers nonetheless loses a major potential character arc.
Even in the final moment with Yon-Rogg, where, in rejecting his last-ditch effort to manipulate her into fighting as herself without her powers (i.e. on terms in which he knows he can beat her), she simply blows him away, thus showing that he’s right: that she cannot control her impulses.
She claims she has nothing to prove to him, but what about to herself? This is, after all, one of the classic canonical superhero conflicts—where the line between self and power falls, which can provoke further questions of what can ultimately be relied upon, or how to maintain one’s self despite the changes brought by power. What about conflicts regarding the dependability of her newfound way of seeing the world, a major question in a movie where the inability to trust reality (brainwashing Kree, shapeshifting Skrull, etc) is a common motif? No, once she gets woke to the Kree, Danvers never questions her new episteme. Why allow internal conflicts to burden her character with unnecessary complexity—especially when we can resolve all the movie’s external conflicts with unlimited girlboss power, smashing the patriarchy—err, the Kree—with their own tools, instead?
This lack of reflection on her powers is a major part of what makes Danvers’s character flatter than either Elsa’s or Rey’s. Both of them at least experience doubt regarding their powers and their relationship to them and their relative place in the world. However, as if stuck in Elsa’s famous song, Danvers’ climactic embracing of her powers keeps her in a third-act moment of what could have been a five-act growth arc.
There is also the unadmitted Superman paradox.
The Superman paradox arose when writers realized an all-powerful being could have no serious conflicts—and, therefore, no compelling story. His creators had to steadily introduce kryptonite to keep him interesting. Presumably her creators knew of this but didn’t think it would apply.
It can certainly be argued that incorporating both an awakening embrace of power and an overcoming of weakness to that power would be expecting too much—and trying to include two major conflicts in one movie. However, completely eschewing any real weakness (Danvers’ conflict involves her adopting and subsequently rejecting weaknesses she does not intrinsically have, which are accidental and, thus, ultimately unserious as conflicts) still sets a low bar of complexity when most superhero movies include some sort of chink in the hero’s armor for future exploration. Danvers’s embracing of her powers is so wholly untainted that, as cathartic for some as the final sequence may be (complete with her acquiring the ultimate symbol of freedom, flight), the seeds for future growth or reflection—the marks of a hero’s staying power—are, sadly, lacking.
[1] Feminist Heroines: A Rejection of Complex Females
None of this is to deny that Elsa’s, Rey’s, or Danvers’s movies are entertaining and have devoted, good-faith fanbases. As with the unchanging heroes I mention above, people can and should enjoy what they like and feel they need. However, this leads to my qualms with the idea of a character type that shouldn’t have to grow in expected or sympathetic ways. Among other things, I fear the contention that traditional complexity and character growth are arbitrary impositions meant to reject characters because of their femaleness will result in less complexity in female characters, as well as create, in a self-fulfilling prophecy, an antipathy or apathy among audiences towards new female characters—not because they are female, but because they are simple.
However, so long as a certain brand of feminist critics assume that all efforts to mold a female character according to a broader ethical framework are, really, a patriarchal attempt to keep women down, we will continue to get simplistic stories and morals thereof like these. This should not surprise us. The same critics who hold to this implicitly Marxist reading of traditional story structures interpret Pride and Prejudice as an anti-woman novel because it suggests some of Elizabeth Bennet’s problems can only be fixed by personal reflection and reformation—i.e. because the novel is in part a bildungsroman—despite her embodying most of the same traits of their stated favorite heroines (even those discussed above!). If that is how such critics interpret a thoroughly complex character arc, we should not hold out hope for better from them or from studios working to satisfy them as an audience.
So, what should we do? For one, we should flatly deny the accusations that disliking an individual character equates antagonism or bigotry against an entire category; besides employing an irrefutable denial of moral legitimacy, it tries to shoehorn a Marxist reading that sees individuals as merely instances of their group or class. In trying to save characters from simplicity, we should also fight the simplification of critique.
When stories or characters come out that do, indeed, participate in complexity in some way, we should promote them. This may mean being open to new reworkings of stories (on that note, I had originally included The Legend of Korra above, but on further reflection and research of perspectives, I decided the Avatar Korra does grow in ways consistent with the precedents of the Avatar universe that I had not considered before). While above I critiqued the characters for breaking from their canons, it can be equally damaging for story to never stretch what has already been. The best stories will, in my view, resurrect familiar elements of their canons while showing that new arcs are still possible therein. So, we should vote with our pounds, dollars, and online engagements to show at least the less ideology-driven studios that complexity of story matters to audiences more than character identity politics.
A converse of this is to reject stories built around transgressive or socially deconstructive elements, and to educate ourselves on why such things do not and should not be privileged as equally valid views or stories (being anti-stories) in the marketplace of ideas—especially when those who promote them would not and are not extending the same toleration to the rest of us.
Finally, as we at The Mallard have advocated and tried to put into practice, we should create the things we want to see. If nothing else, this will help us understand how to interpret the other art we consume. Complexity is difficult, and accomplishing it subtly and succinctly is even moreso. It might discredit me as a writer to put it in print, but I had to cut 250+ pages of my novel Sacred Shadows and Latent Light, most of which was backstory and characterization. Necessary for fleshing out my characters for myself, but not inherently necessary for developing the book’s conflict. The experience paradoxically made me more sympathetic but also less yielding when it comes to character depth. I hope I’ve shown both above in my treatment of characters who have, in theory (certainly in budget), better writers than I behind them.
[One aspect of Captain Marvel that is only peripherally related to Danvers’s relationship with her powers, but which nonetheless aligns with the eschewing of usual self-control progression, is her treatment of the minor male characters in the film. Danvers has the perfect excuse to treat new people with suspicion, and, perhaps excepting Stan Lee on the bus, she enjoys it—from ____ to committing theft grand auto. Of course, the trope of an apparent alien not conforming to local property laws goes as far back as Thor (and, of course, farther), but the undertone here is that the theft is justified in response to the man admittedly creepily asking Danvers for a smile. She later shows that her default to rudeness is not a casualty of her untrusting circumstances: she responds to someone as unthreatening as Tom Holland’s Peter Parker in Avengers: Endgame in as insolent a manner as she does to the characters in her movie—an indecency for which I have not been able to forgive her.]
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On the Defamatory Lynching of Eric Zemmour in the British Media | Oliver d’Astreville
When faced with the utter treachery of progressive intellectuals, there are times when one is tempted to go back to the old ways. Show up to their threshold, give them a slap with your glove and then hopefully grant them eternal peace from their nightmarish debility in a duel at the next daybreak. Peace would then return and one would tread home with the gratifying thought of having served mankind. But alas, the time of blood feuds is spent, and the resting lion who could once easily crush the hyenas troubling his sleep is now constrained to articulate his maw into words; explaining to them why it is uncourteous and inappropriate to come to his dwelling and trouble his sleep.
So be it. Let us contend defamation with apology, caricature with truth, and cede the arma to the togae; after all, we have no army at our disposal to cross the Rubicon.
An anglophile, and an admirer of Anglo-Saxon famed freedom of speech and liberalism, I must say I have been rather disappointed by how sententious the analysis of British and American newspapers of Mr Zemmour’s political position has been. After having observed now for two months or so the unceasing manhunt of the candidate by mainstream British media, I thought that one should not let this monochord blabber follow its course without a single objection. For example, let us take a look at this stereotypical leftist hit piece from The Guardian.
Written by what many would call an academic demigod, Didier Fassin, professor in anthropology at the Collège de France, one could have expected this article to be a dense synthesis of a profound analysis of French society and politics. How mighty was my astonishment when I found that the author’s main source regarding Zemmour’s ideas was one pamphlet from the junk information website Slate. I can easily guess that Professor Fassin never thought it worthy of his rank to listen to Mr Zemmour with his ears once in the past decade. Here is the only grounded and meaningful paragraph extractable from Professor Fassin’s article about Mr Zemmour:
“Indeed, he [Mr Zemmour] has said that parents should only be allowed to give their children ‘traditional’ French names, approvingly referred to people comparing Nazism with Islam, propagated the so-called ‘great replacement’ theory and argued that employers have a right to turn down black or Arab candidates. He believes that political power should belong to men and that women’s role should be to have and raise children. He has claimed to be on the side of General Bugeaud, who massacred Muslims during the colonisation of Algeria, has contended that Marshal Petain saved Jews during the second world war, and would like the death penalty to be reinstated. His overarching narrative is reversing France’s supposed national decline, which featured again in the video announcing his candidacy.”
Let us dissect these eight claims, in which the author restitutes eight of Zemmour views that he thinks should be problematic and let us try to display to the reasonable and discerning Anglo-Saxon reader how Zemmour’s real positions are not as grossly fascistic and vulgar as Professor Fassin wishes to make it seem.
1. “He has said that parents should only be allowed to give their children ‘traditional’ French names.”
Zemmour argues that the civility under which French citizens are recognised in the public space should be a French traditional first name. That is either from the calendar of Saints or prior traditions such as Greco-Latin history. Let us be clear, he does not speak of the use of a foreign name in private life. He does say that one’s ID and passport are not of the private but of the public domain, which is true.
Indeed, the elites of the now frighteningly multicultural city of London might be revolted by this proposal. These “enlightened divines”, as Burke would call them, would also be edified to know that this was a French law, passed by Napoleon. It was only repelled in 1993 when it was stated that parents had the right to freely choose their children’s names. Still to this date judges may forbid names that are judged disadvantageous to one’s future, such as: ‘Borat Miller’ or ‘Mr Bean Smith’. Anglo-American progressives are prompt to project their multicultural conceptions on France, but our histories differ.
At any rate, for most great societies until the twentieth century, the adaptation of foreign names or their outright changing, especially between Western nations, was the rule. In particular, virtually all French Jews between the eighteenth and twentieth centuries, adopted French names as they were finally integrated into French society after centuries of rejection.
“We must give the Jews everything as individuals, but nothing as a nation” is a quote from the revolutionary nobleman Clermont-Tonnerre, often uttered by Zemmour, for it matches entirely his own family’s choices and trajectory, that of Jewish France. This cultural assimilation was the way of integrating migrants in France for the past 200 years, since the founding of the Republic and before.
2. “[Zemmour] approvingly referred to people comparing Nazism with Islam.”
Muslim people do not share this tradition of adapting names and they never have. After all, Muslims seldom moved to a country outside of the context of invasion and this wasn’t to change until the 20th century when Muslims immigrated to countries for other reasons. Like Judaism, Islam is a religion of law but even more so. Islam requires not only material compliance of its followers but sets a legal and political order of which they are a part. Thus, the historical distinctions of Muslim countries (Caliph, Sultan, Emir, Sheik) are both religious and feudal titles.
Islam also took from Christianity its universal purpose. Islam sought to establish a universal caliphate. But the lector knows of this, as recent history does not cease to recall us that fundamental difference.
In that aspect, Islam is of all religions the closest one to modern totalitarian ideologies, because it seeks to change every detail of private life in a codified manner, and seeks to bring about these changes universally, willingly or by legitimate force. In short, Islam seeks to transform the individual and the world in their totality.
Hitler himself was an admirer of Islamic values, and said, quoted by Albert Speer:
“Theirs [mahomedans] was a religion that believed in spreading the faith by the sword and subjugating all nations to their faith. The Germanic people would have become heirs to that religion. Such a creed was perfectly suited to the Germanic temperament.”
The comparison of Islam and Nazism has at least this much relevance but, of course, it does not aim at saying that Muslims are Nazis, nor that Imams are Gestapo officers.
3. “[Zemmour] propagated the so-called ‘Great Replacement’ theory”
Here, there is no need even for discussion, let alone debate, but just for a brief word.
The ‘Great Replacement’ is but the junction of two simple facts. Firstly, contrary to America, which is based upon no ethnicity, France, as most nations or peoples in the Old World, is very much based upon ethnicity, although not limited by it. France emerged as a nation of people who had shared the same land, history, culture and even religion for 2000 years. In terms of ethnology, France is much closer to the Iroquoian confederation than to the USA. As General Charles De Gaulle famously said to an American diplomat telling him “I know France well, I have lived here for 10 years”, De Gaulle answered, “Well, we have for 2000 years!”
Now, the second idea is even more genuine: The fact that several hundred thousand migrants enter France each year, mainly from African and/or Muslim countries, and that the birthrate of women from these countries is on average twice that of white French women, mathematical law implies that there is a demographic landslide, or “Grand Remplacement” of “European” descendants. Whether it is desirable or not, whether it is even worth discussing, is a question begging to be answered.
So there isn’t anything for Mr Zemmour to propagate but a trivial collection of facts. Most of the people who are willing to vote for him would consider this a major issue independently of his candidacy. Someone ignorant of the ethnic change that France is going through was either in hibernation and has only just woken up, or a very biased leftist who would rather point out the risk of alien invasion than the risk of Islamisation.
4. “[He] argued that employers have a right to turn down black or Arab candidates.”
Zemmour indeed argues that it is an employer’s right to refuse or grant someone a position for any reason he should see fit, whether it is competence, character or skin colour. To discriminate is to choose. It is a most rational and simple argument: an employer is not a public service and refusing to give someone a job, lease him a car or a property cannot be earnestly considered as harm done to this person.
Let’s be clear, a crime committed for any reason related to race, sex, sexual orientation, colour, religion or even competence, regardless of the reason, is a crime and should be punished as such. But rejecting an application is not a crime. How could an act that is not a crime in itself, be called a crime once the intention underlying it is known? In the end, this is nothing but an impugnation of motives. Undoubtedly, society should in any way possible facilitate the life of those who suffer from objective physical and mental handicaps. I ask Professor Fassin and his Londoner friends: Is Muslim religion a mental illness? Is dark skin a physical handicap? Is sexual orientation an objective deficiency?
No, will they will inevitably answer, but it is perceived as such, and this law should be in effect until all prejudice has been removed from society. Should law have a curative purpose? Justice is absolute, and so are good and evil. Crime is a crime, regardless of the time and context. The circumstance may affect the gravity of it, but not the nature of the act. Therefore, by mindlessly stuffing everything they find disagreeable into the criminal category, the left yields to the reproach made to it by conservatives for two centuries: the progressive idea of justice a contingent one, they ultimately subscribe to sophism, that is believe in nothing except themselves.
The proof that recruitment discrimination cannot be called a crime or an offence, is that it is in practice undetectable. How do you prove that someone was hired or rejected based on their ethnicity rather than on their competence? In most cases, you cannot. How do you prove an organisation has a hiring bias? You have to organise tests, which is akin to pursuing a fly with a sledgehammer.
5. “He believes that political power should belong to men and that women’s role should be to have and raise children.’’
The French candidate says some qualities are more closely related to one or the other gender. He states that political power belongs by default to manhood. A clear example of this is the traditional virtue of virilitas so cherished by Republican Rome. For biological reasons, the functions of power, war, and political decision making were, for dozens of millennia, by default masculine functions. Those of education, housekeeping, cooking and, even I dare say, finance were by default feminine ones.
He is right. Of all the folks and communities of mankind ever known on this planet, there was never a single matriarchal society. Some societies are more matriarchal than others, but it is only relative and never absolute. Processor Fassin knows this perfectly well, for he is himself an anthropologist, and in order to disagree with Mr Zemmour, he would have to go against the scientific consensus in his own field.
This again should not be an inspiration for fixed laws in a Republic founded upon the principle of equality between individuals regardless of their sex, and it would be absurd for a patriot of the nation of Joan of Arc to try and relegate women to the household. But that it is not in any way part of Zemmour’s agenda, even by extrapolation.
6. “He has claimed to be on the side of General Bugeaud, who massacred Muslims during the colonisation of Algeria.”
None will disagree that the massacre of innocents can be excused or even explained. But then again, this is not what Zemmour did: Zemmour lauded a military man’s uncompromising patriotism. He did not excuse this particular command of Bugeaud to suffocate an entire tribe into the cave where they had taken refuge.
Being coherent with my own words, I believe that statues of General Lee should not be taken down in the US, because despite fighting for an evil cause, he was still a great military leader, a patriot, and even freed slaves that he should have received has inheritance, before the war. Alas, few heroes of American, French or British history were saints, and fewer even by modern standards of sanctity. If Lee is taken down, how long before Nelson, Napoleon, Churchill and De Gaulle receive the same fate?
To remind Anglo-Saxon readers of the historical context, one of the casuum belli of the French conquest of Algeria from 1830 onwards was to put an end to slave raids that had plagued the Mediterranean for a millennium. And this was far from being a pretext, as some historians like to put it. When the French expedition took Algiers it immediately freed several hundreds of French slaves – thousands of European slaves altogether. This excuses nothing but explains how the struggle between the Western and Muslim worlds is not a recent, superficial or arbitrary one, and how the situation cannot be naively diagnosed in all abstraction of history.
7. “[Zemmour] has contended that Marshal Pétain saved Jews.”
Marshal Pétain and the regime of Vichy generally speaking – despite being regimes founded upon the treason of the French nation, forsaking the alliance with Britain, and collaboration with Nazi Germany – spared France from total defeat. Fighting to the end would have meant that the whole of France would have been conquered and placed under direct German governance, like Poland, Czechia or Greece. One knows that in the latter countries, the proportion of Jews who died in the Holocaust reached 90%, in the case of Greece or the Netherlands. In France, it was around 10%. Vichy leaders still instinctively rejected Nazi racist axioms. In France, in Italy, in Spain, Jews undeniably found a better shelter from hatred and deportation than under direct German rule.
This does not mean that Mr Zemmour ignores the existence of the Vel d’Hiv deportation, of the Lois Juives, or of the militia’s massacres, and general servility of Vichy towards Germany. He acknowledged it and maintained his position all the same.
Be that as it may, this historical thesis was not at all invented by him. It was generally accepted in France, even defended by Jewish and Israeli historians, until the publication of Robert Paxton’s book Vichy France which condemned Vichy as altogether evil. Recently, an Israeli historian has published sources that demonstrate the active role of Vichy in attempting to protect French citizens, regardless of their religion, from the Gestapo and the SS.
I think that Pétain was a traitor to France, but history is complex. This matter is still an area of academic debate, and I believe it will forever remain a matter of opinion. Only the party that wants to censor the other one will truly be wrong.
8. “[He] would like the death penalty to be reinstated.”
One can reasonably disagree with Mr Zemmour, and join the liberals who believe, like Victor Hugo, that “Vengeance is human, Justice is divine. The State is in between, its role is to heal, to better the men.”
Nevertheless, support for the re-establishment of capital punishment is widespread among French people. Some months ago, the Rwandese refugee who burned the cathedral of Nantes, that had been left to roam about by the police because “He was not subject to detention under European laws of asylum” said the French interior Minister Darmanin, eventually found the primary target of his arson, the vicar of the cathedral, and stabbed him to death, in the Vendée. Most of the perpetrators of the past ten years were known to be dangerous by the intelligence services but were still left free because of lack of space in prisons or EU legal restrictions.
But there again, Mr Zemmour’s support for the death penalty is anecdotical in the greater picture of his battles and it is certainly not something he would have the leisure and popularity margin to reinstate if he managed to beat Le Pen and Macron.
As a way of conclusion, I will say that it matters greatly for foreign conservatives or reactionaries to understand their French comrades and comprehend the hope we put in Mr Zemmour. For every new decay brought by progressivism in any one of our nations inevitably ends up plaguing the other ones, and we have a common interest in vanquishing deconstructivism in the West as a whole. One could not forget how the French theory (it is a shame in itself that such devilry should be characterised as French) crept from the intellectual boroughs of Paris, insidiously wrecking itself on the shores of New England, and eventually mutated into the notorious, dreadful and destructive cancel culture that scourges our time.
The fact that a member of the Collège de France, pretty much the equivalent of Cambridge Trinity College in England, should write a derogatory article about a French presidential candidate in the British media demonstrates what is wrong with France’s establishment. The establishment of my country lives in an enclosed penthouse, more concerned about what foreign elites think of them than about what their own people think about them. Sound familiar?
Where their fate might be worse than that of Britain’s establishment, is that their minds and their logos are colonised by Anglo-Saxon structures, and they play the role of New-England progressives more readily than that of French scholars. Professor Fassin is probably eminent in his field, but in this particular case, he blatantly used his position and network at The Guardian to cast a stone at My Zemmour, because of political enmity. Even in the case that The Guardian did ask him for his contribution, he could have passed, quite obviously not being an expert in the matter.
I will also indulge in begging The Guardian, or any British media outlet, that if they should wonder about Mr Zemmour’s views they should simply ask him directly and let Professor Fassin return to his studies, by which he is certainly much beguiled so that he has no spare time to come down from Mount St Genevieve and seek quarrel in the political arena.
One last sting: The Guardian seems to gather and spread information about France only through those with whom they are in ideological communion; the same way that the American or Soviets informed themselves about the countries they invaded or ‘freed’, only with the local communists, pro-West or Shia Muslims. I think I am fair to call this a colonial method.
