Atmospheric Carbon Dioxide levels are rising – that is a fact. Before the industrial revolution, atmospheric CO2 levels steadily remained at around 280ppm (parts per million). This number had remained constant for thousands of years, with very minor increases over the years due to natural processes. In March this year, CO2 concentrations were sitting at 418.81ppm. This huge increase in atmospheric carbon dioxide concentrations has already created and will continue to create unprecedented effects on the environment globally. This daunting fact has prompted leaders across the globe to act.
Last November in Glasgow, the COP26 summit was held which was widely regarded as an instance of the UK taking global leadership in the fight against climate change. The UK has worked hard to bring all participants of COP26 to a consensus about the actions needed to mitigate against the harmful effects of climate change and reduce global CO2 emissions as a means of lessening the damage caused by global warming in the future. In doing so, the UK government has sought to fulfil their end of the bargain and beyond, making bold promises in the hopes of accelerating the UK’s charge to becoming net carbon neutral by the year 2050.
Energy production is one of the biggest issues regarding our drive to net zero, producing 21% of the UK’s greenhouse gas emissions. As such, the government has placed a levy on domestic energy bills, costing the average UK household an extra £159 per year on energy bills as a means of financing subsidies for renewable energy products. In addition to this, the government has recently raised the household electricity price cap from £693 to £1,971. This will put immense strain on the budgets of many households, not even mentioning the skyrocketing inflation recorded at 7% in March 2022. This financial squeeze is not showing any signs of relenting, with disposable incomes predicted to fall by 1.9% this year – an even bigger decline in living standards than the one seen in the year prior to the Winter of Discontent.
With all the economic doom and gloom spreading about, a question must be asked – is net zero by 2050 worth it? The UK sits on top of huge shale gas deposits which could easily be exploited by the government issuing licences for companies to begin fracking on these lands, solving the gas supply issues which drives lots of the inflation currently seen. This gas could also be used to generate electricity domestically, reducing the UK’s reliance on French electricity whilst increasing supply to the point where households’ electricity bills could be drastically reduced. The UK currently contributes to 1% of global emissions, meaning that despite being virtuous, the drive to net zero will have relatively little effect globally when countries like China and India make relatively little efforts to reduce their own carbon footprints. Moreover, exploiting domestic energy supplies will likely result in lower overall carbon emissions than the alternative of importing, as huge amounts of carbon dioxide is emitted when transporting these resources to the UK.
As such, it is little surprise that Reform UK – the largest right-wing opposition party to the Conservative party has begun to campaign against the government’s current plans to achieve net carbon neutrality. Whilst it is a noble cause to reduce carbon emissions, the current economic reality shows that the plans currently in place will massively reduce the quality of life for millions in this country instead of being the ‘Green Revolution’ that was promised by this government. We need pragmatic, not dogmatic solutions to current issues and reviving domestic energy production is the first step to solving the cost-of-living crisis and reducing our dependence on energy imports. We still have twenty-eight years to reach our target. Making sure that people are financially safe should be the government’s priority, only then can we focus on the environment. There is no doubt that this method of mitigating the cost-of-living crisis will encounter large resistance from pressure groups such as the Extinction Rebellion, but a far larger resistance will be seen in the polls if the government does not get a handle on the situation soon.
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Squandering a Revolution
Ignore the snarky joylessness of self-important losers and the performative perplexing of Very Serious Political Commentators, the past few days have been hilarious. Brought down by inadvertent kamikaze molester “Pincher by name, Pincher by nature” Chris Pincher, appointed to be (you couldn’t write this) a party whip, amounts to more than another Gay Tory Predator scandal. Instead, we are finally witnessing the end of Johnson’s inert and wasteful premiership.
Here I was thinking we’d be dealt an anti-climactic resignation over a piddly piss-up. All those times half-wit pundits, with their mundane alcoholism, lapsed anuses and hyperlinked relatives on Wikipedia, insisted that “it’s over” for Boris, only for such prospects to be dashed when a big fat *nothing happens*, effectively wore down the belief that Johnson could be removed at all.
However, just as a monkey could write Shakespeare if given enough attempts, journalists occasionally conjure the ability to publish something with a kernel of veracity, in this case – the government is imploding because Johnson feigned ignorance of Pincher’s pinching.
As funny as it is to see Boris’ top guys do a 180 in less than 24 hours, contrasted to the inexhaustible ride-or-die energy of Nadine Dorries, you came here for Insightful Political Commentary; a lucid outline of What is To Be Done, you came here for The Ideas. Very well, ladies and gentlemen. After all, chaos is a ladder.
Like most conservatives, I am torn between my hatred of Johnson and my hatred of full-time Johnson-haters. The former was handed an unconstrained sledgehammer to smash the Blairite machine. Criminally underutilised, it was primarily used for tasks completely incongruent with the telos of a sledgehammer – Building Back Better, Levelling Up, etc.
Adding insult to injury, the constructivist rhetoric was entirely devoid of actual construction. Housing prices continue to climb, the borders are wide open, the tax burden continues to punish the most productive, supply-side solutions to energy problems are practically non-existent, and all ‘attempts’ at resolving [REDACTED] have mounted to nothing more than superficial lip service to whip up momentary support from disaffected voters. For a man versed in the classics, Boris should know Heraclitus’ First Cause – Construction and Destruction were born joined at the hip, the fire which festers within a blacksmith’s forge and the fire which springs from a Molotov cocktail are the same force.
In the case of the latter, the full-timers sincerely believe that Boris has made extensive use of his loaned hardware, obliterating Those Ancient British Traditions: the NHS (1946), the HRA (1998), Supreme Court (2005), Britain’s membership of the EU (1992), etc. Ironically, had Johnson aspired (never mind achieved) more than a measly fraction of the aforementioned, he would be leading by double-digits.
The derangement of these full-timers makes one wish Johnson had made like Caesar and crossed the Rubicon. If not to pursue a revolutionary agenda, then to amplify the deserved misery of Britain’s worst inhabitants; the type of people that Tumblr-format tweets about having integrity in politics – “The Parties, The Lies, The Cheese and Wine, it’s DISGUSTING” – as they listen intently to the most recent episode of Alastair Campbell’s podcast.
It’s old news, but it’s worth remembering that Boris is not a conservative. He’s a liberal whose self-obsession disrupted what would have been his natural Brexit alignment. He’s managed to court support from people who would otherwise not have supported him, knowing full well they have little realistic alternative. A socially liberal chieftain of a socially conservative tribe, a Globalist commander of a nationalist army, Boris’ betrayal of both sides of Britain’s politico-cultural schism are finally converging, depriving him of what he values the most: popularity. Like Louis XVI awkwardly donning the revolutionary bonnet, Johnson found himself divided between his political inclinations, those of his new compatriots, and his desire to remain popular irrespective of circumstance.
A high-tax, high-immigration, high time-preference, low-wage, low-cohesion, low-growth Britain with a political life routinely interspersed by the misdeeds of a Prime Minister that backstabs his own supporters and elevates pillow-talk policy over national priorities. Brexit was always more than technical independence from the EU. Sovereignty was never the ultimate end. The Leave coalition was underpinned by the pursuit of sovereignty, but it was the prospect of exercising this sovereignty that brought about the electoral realignment. It was why the Nationalist-Brexiteer majority and the Globalist-Brexiteer minority could co-operate. Not a means to an end, but a means to greater means, and from these greater means a true ultimate end. A half-baked means (see: ECHR), but a necessary means, nonetheless. Even without Brexit, to waste such a supermajority, as a Conservative, should be grounds for life imprisonment.
In case you haven’t noticed, I am not outraged at “THE LIES”. Expecting politics to be free of lies, noble or otherwise, is like expecting the sea to be free of fish. It’s that a national revolution, literally decades in the making, has been squandered by a fat, self-absorbed, Etonian mutt that cares more about getting cummies from mid women and supporting The Current Thing like the insufferable libtard he is, rather than using a historic opportunity to liberate his country from institutionally inflicted self-harm; a stranglehold that will certainly be reinforced under a Labour government.
Speaking of Labour, how is the mortician doing? Has he recovered from his divorce yet? If the polls are to be believed, he’s doing better than a country with half-serious political system would allow. I do not believe mass reconversions to Labour will occur. The next election will be decided by the magnitude of [c]onservative disaffection.
And what of future Conservative leadership? Oh joy, a choice between Loony Liz and Total War Tom; an accidental hot war with Russia vs an intentional hot war with Russia. Decisions, decisions. Then again, what do you expect when given the option between an ex-Liberal Democrat and a dual-citizen neocon? It all screams “Look at me, I’m a rat that will jump wherever!”.
Rishi? The ‘Diversity Built Britain’ guy? Kill yourself. Okay sure, he didn’t run cover for Pincher but he’s still a dull gremlin with a non-dom wife – not a good look! Besides, he’s still “implicated” by “Partygate” – an even worse look! Hunt deserves more contempt than can be articulated by the human tongue. Javid is an NHS fundamentalist. Not only does he worship the NHS, but he also unnecessarily attacks people on Twitter that dare to criticise it. Braverman is a Judas Goat – either she puts up or shuts up. Does anybody have an opinion of either Gove or Zahawi that isn’t associated with Machiavellian underhandedness?
Mordaunt will be Theresa May 2.0 – the untainted candidate that slides in from the side-lines, garnering popularity from the prospect of some maternal reconciliation. Indeed, thoroughly disgusting prospect. This country can’t endure five seconds of political excitement without wailing like an infant. Speaking of Theresa May, she’s rumoured to be a potential “caretaker Prime Minister”. Does nobody remember her premiership? She embodies this country’s infuriating sentimentalism towards mediocre politicians. Furthermore, the timeline will be unbearable. Every sycophantic bint with a “Bloody Difficult Woman” tote bag from 2017 will re-emerge, squawking about the totally-not-astroturfed-and-definitely-politically-attractive notion of Compassionate Conservatism.
For all his faults, at least Boris had some charisma. One suspects people were banking on 2019 to make Parliament a little less boring, replenish it with at least a few interesting people. But no, we got potato sacks.
It is easy to imagine that Johnson will become a Girardian scapegoat for the coming Parliament – an environment defined by his ostracization and anything that can be construed to be representative of his presence (very easy for a man with the track record of an erratic ape). Onto him, all the ‘sins’ of the past 3 years will be unanimously piled; his resignation will represent an exorcism that alleviates whatever is political convenient for his ex-compatriots and the neurotic full-timers. An insulated circlejerk which will barely disguise an aggressive repositioning against the progressively minded – “if Johnson’s premiership was the result of Brexit, then nothing like Brexit can happen again”, and so on.
In the end, whatever maximises political randomness may best serve the betrayed. January 6th kino isn’t coming to Britain (we’re far too boring for something like that), but there’s certainly no reason to support the Conservatives at the next election. At this point, democratising the Conservative Party should be on the table. We cannot carry on with a system which consistently produces such terrible representatives – ones which can so easily abuse (literally and figuratively) the party’s support base and continuously get away with it.
Brace for the self-righteous gush that will begin to flow courtesy of Johnson’s neuron-cranking retardation. The BBC will find another reason to put Ian Hislop on the television and use “Should I Stay or Should I Go” in whatever slapdash documentary comes out of this. Unfunny comedians will tune into radio shows to compare Johnson to their ex-boyfriends. “The 2022 UK Government Crisis Shows the Enduring Problem of White Male Fragility. Discuss.” (40 marks).
Enoch Powell said that “all political careers end in failure”. On a technical level this is true, but few political careers end with the squandering of a revolution. The boy who wanted to be king was gifted the crown on a velvet cushion and, when placing the crown onto his head, dropped it into the gutter. Here’s hoping the crown can be retrieved by someone of kingly calibre and salvage the future that could have been.
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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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Destabilisation, not Conquest: Russia’s Real Strategy
As the crisis in the Ukraine drags itself on, it’s become quite clear that the Russian strategy from the start has not been conquest or even necessarily annexation, but a destabilisation campaign.
As I wrote earlier this year, Russia’s style of warfare is intended to displace populations and destroy civilian centres. Alongside this, Russia has claimed and supported the independence of the Luhansk and Donetsk regions, almost definitely to create a buffer region between Ukraine and Russia. Regardless, when I wrote that the next refugee crisis was brewing in the Ukraine, I actually underestimated the figures: I suggested that, of the roughly 30 million people in Ukraine who hate Putin, perhaps 1% (300,000) might leave; in reality, the figure is as much as ten times that.
Refugee crises are challenges, and almost always met badly. But, this was what Russia was counting on: by displacing so many people (intentionally – again, due to their style of warfare), forced to move into relatively benign nations, such as Poland, Hungary and (much less likely) Belarus, Russia has laid the foundations for a refugee crisis in Central and Western Europe. It is not necessarily the policies of the receiving countries that will make this a crisis, but the simple numbers – already over four million people have left Ukraine, most of them women and children.
Europe struggled to accommodate one million of the six and a half million Syrian refugees, but even the majority of these numbers arrived in Europe across a period of years, not weeks. This is the worst refugee crisis in Europe in living memory; and unfortunately, the vast majority of refugees are not going to be returning to the country they knew. If the pictures coming out of Ukraine are anything to go by, the level of urban destruction is consistent with both the style of warfare Russia executes, and that of the Second World War. As horrible as it may sound, there is every possibility the refugees will not have a home to return to.
And this goes deeper than a physical home; there may not be a recognisable ‘Ukraine’ at the end of this. It is absurd to think, despite the general consensus amongst the Western media, that Ukraine was without its problems before this war began, and many of them were over far-right groups active in the Azov region, such as the Azov Battalion. The prevalence of ultra-nationalist, and even active Nazis in some cases, in the Ukraine is something the West has sought to paper-over, and Putin has sought to exacerbate, but the honest truth is that this is a real and enduring problem for Ukrainian politicians. Some even compared the defensive war that Ukraine is fighting to the final days of the Third Reich and the Allied bombing campaign.
This has been going on for longer than we might want to admit. In 2018, the Kievan “National Militia” attacked local government meetings in order to strong-arm them into policies they favoured; in 2019, the Azov Battalion and other far-right groups (Dnipro-1 Battallion as well) carried out pogroms on minorities; and the ultra-nationalist party Svoboda – which has 15,000 members and has a parliamentary presence in the Verkohvna Rada – is regularly accused of neo-Nazi sympathies, not to mention the fact that Belitsky, leader of the Azovs, is a deputy in Ukraine’s parliament.
Russia’s campaign has made these internal divisions public knowledge; it is spurious to pretend that Russia’s ‘de-Nazification’ claims are accurate to the situation, but it cannot be ignored that there is a major presence of National Socialists in the Ukraine.
Why will Russia’s ‘special military campaign’ make this situation worse? Put simply, the immediate (and, it must be said, necessary) arming of civilians in order to fight the Russian invasion will have long, long term consequences. Whenever this war ends – which may be longer than we want to imagine – Ukraine will be facing the problem of what to do with a well-armed, combat-experienced, pissed off population. When the United States armed the Mujahideen in Afghanistan in the 1980s, it was seen as a necessary use of paramilitary forces to resist (again) Russian aggression. Now, Afghanistan is a mess of guerilla groups, Islamist fundamentalists and radical separatists. This whole situation was made worse by the
This problem extends to normal politics as well; Volodymyr Zelensky has dismantled the free press, claimed a conspiracy exists to oust him, and has outlawed the existence of eleven pro-Russian political parties, one of which had 10% of the Ukrainian parliament.
So, when the dust settles, Ukraine will have to contend with the reality of neo-Nazis with modern arms such as NLAWS, displaced and angry civilians with access to combat weaponry, and a gutting of as much as 10% of its population that is abroad with no home to return to.
Putin does not need to take Ukraine, or even necessarily enforce the independence of Luhansk and Donetsk. Instead, in many ways, he has done what he really needed to do; destabilise the West’s big player on its border, and likely the rest of Europe for a long time.
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