British cultural critics, in my opinion, suffer from an insularity which prevents them from connecting the events of their own country to any wider patterns of civilisation. This is truest for those who are the most correct with their criticisms. Take for example Theodore Dalrymple, whose 1998 article Uncouth Chic in the City Journal was prophetic in diagnosing a distinctly British pathology. I give a lengthy quote to showcase the depth of his description:
“The signs — both large and small — of the reversal in the flow of aspiration are everywhere. Recently, a member of the royal family, a granddaughter of the queen, had a metal stud inserted into her tongue and proudly displayed it to the press. (…) Middle-class girls now consider it chic to sport a tattoo — another underclass fashion, as a visit to any British prison will swiftly establish. (…) Advertising now glamorizes the underclass way of life and its attitude toward the world. Stella Tennant, one of Britain’s most famous models and herself of aristocratic birth, has adopted almost as a trademark the stance and facial expression of general dumb hostility to everything and everybody that is characteristic of so many of my underclass patients.”
Dalrymple lays the blame for this “uncouth chic” on moral relativism: “… since nothing is better and nothing is worse, the worse is better because it is more demotic.” This much may be true, but it sidesteps an important matter. There’s an area where the British remain elitists: money. Whatever relativism now reigns upon our morality, it has areas of preferred emphasis. With manners we are relativists, but with cash we are a nation of absolutists who think being rich is better than being poor. Indeed, the very need to transform the uncouth into a type of chic (a word meaning sophisticated and fashionable) betrays such a mindset. Nobody is demanding unfashionable uncouth trash.
To be an elitist about your wallet and a vulgarian about your manners. I wager this combination isn’t accidental but vital. The latter flows from the former.
The Greek philosopher Aristotle, who defines a lot of things near-finally, defines an oligarch as someone who is both wealthy and has a wealth-based idea of goodness. That is, an oligarch isn’t just rich; he thinks being rich is identical with being good. This is why he thinks only the rich should hold political office, for example. So, it’s not that money is the root of all evil and the rich the wickedest. The one who has his character in order only benefits the more money he has, because he understands money as a tool for acquiring other goods. The oligarch grasps for money like an idolum and hates anybody who doesn’t have it.
But why does the oligarch think this? Hasn’t he observed all the good poor people in the world? Is he blind to the honest pauper? Aristotle’s answer is simple: the oligarch thinks money equals goodness because he thinks living well is gorging every appetite with no limit. “For where enjoyment consists in excess, men look for that skill that produces the excess that is enjoyed”[ii]. In other words, if the good of life is endless pleasure, and endless pleasure needs endless money to buy it, the good of life requires endless money. Those without money are unable to get endless pleasure, so the oligarch looks down on their lives as inferior.
The collection of norms we call “etiquette” or “manners” have emerged organically over a long period. Some are obviously arbitrary or meant to exclude people unjustly (the outmoded and snobbish dress code of “no brown in town” comes to mind). But a great many are there to limit personal behaviour, to channel action into a disciplined pattern.
Why chew with your mouth closed? Because it shows consideration for your fellow diners. Why take small bites? Because it controls you to eat at a healthy pace. Why not deliberately get drunk? To not impair your reason. Why avoid constant use of foul language? To show that your mind dwells on higher things than bodily functions. In all these there’s a standard of excellence, mental or physical, drilled into the person through control of their actions.
It’s a principle properly summarised in a line from Confucius: “Therefore the instructive and transforming power of ceremonies is subtle; they stop depravity before it has taken form, causing men daily to move towards what is good, and keep themselves farther apart from guilt, without being themselves conscious of it.”.
Is there then any reason for an oligarch to cultivate manners? I think none of weight. An oligarch might make a show of good manners, if he thinks this displays wealth. But once the cultural association of money with good manners is gone, he’ll stop this act. An oligarch who sees money as the means to swelling himself with pleasure actually has an incentive not to cultivate manners. Why would he cultivate something designed to limit his appetites? If the purpose of eating is to shovel as much food into your mouth as possible, and not to nourish yourself, then you can dispense with the cutlery, even possibly the plate.
But this leads to a further thought. Money for its own sake is necessarily vulgar because any constraint on it points to a standard other than pleasure. If we accept that the manners and etiquette we call aristocratic have developed over time as a way of disciplining wealth into excellence, then an oligarchy engorged on pleasure must reject them. Rather, manners that the underclass have adopted out of lack of correction or poverty now become the fascinations of the rich. A poor man wears ragged jeans because he can’t afford anything else. An oligarch wears designer torn jeans because money compels him to wear whatever he wants however he likes it. The expression of “general dumb hostility” which Dalrymple notes, may have been born from the Hobbesian nightmare of a slum; but for an oligarch, it’s the hostility of wealth to any external correction.
In an oligarchic society the top and bottom begin to resemble each other in customs even as they drift apart in income, and even as the top despises the bottom. We may explain the vulgarity of British elites in terms of class guilt, demoralisation, or political posturing. But the issue remains that love of gold doesn’t protect you from barbarism. It’s the passion that unites the highest emperor with the coarsest bandit.
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Britain x Family (Magazine Excerpt)
In the last magazine, I outlined a Sensible Proposal for reforming the British state. It wasn’t exhaustive, but the meat and potatoes were there. In the proposal, I briefly mentioned the need to do exactly this. I suggested the BBC, if it wants to be spared abolition, should broadcast stuff worth watching – programs that will elevate, rather than demoralise, our great nation.
Specifically, I proposed broadcasting Spy x Family to the masses.
Far from being tongue-in-cheek, I sincerely believe that such a policy – and similar policies – would be excellent reforms for any government to implement.
For the uninformed, Spy x Family is a Japanese manga series created by Tatsuya Endo in 2019. The story follows a spy (Loid Forger, codename: Twilight) who has to “build a family” to execute a top secret mission. Unbeknownst to him, the girl he adopts as his daughter (Anya Forger) is a telepath, and the woman he agrees to be in a marriage with (Yor Forger, née Briar) is a skilled assassin.
As of March 2023, Spy x Family has over 30 million copies in circulation, making it one of the best-selling manga series in history. On April 9th 2022, the Spy x Family anime was released. Like the manga, its popularity was instantaneous, obtaining around 7 millions views on its inaugural episode – an immense success for a new show.
Appealing across and within various demographics, topping the charts as Japan’s favourite anime of 2022, it has cultivated an eager international fanbase. Consisting of 25 episodes, a second season will premiere this year, as well as an anime film.
That said, whilst the media success of Spy x Family is there for all to see, little is said about its impact on Japanese society. Nine months after the show’s debut, Japan’s fertility rate experienced an uptick after consecutive years of stagnation and decline.
Sure, it was a very small uptick and Japan’s fertility rate remains far below the point of replacement. In all technicality, Japan’s continues to worsen, just at a less severe rate. Nevertheless, in less than a year, Japan has gone from another stereotypically infertile state to the most fertile nation in the Far East.
Coincidence? I think not!
As a matter of fact, one of the most common reasons for remaining childless, often surpassing financial concerns, is the presumption that having children will deplete one’s quality of life.
Considering how bad things are becoming in Britain, one would require a pretty pessimistic idea of what family entails. Indeed, when you realise what people think of when they hear the word “family”, it’s easy to see why.
At the beginning of the last century, positive portrayals of family life were hegemonic; portrayals that contrasted a more nuanced reality: family life was often less-than-picturesque. Consequently, more cynical (or realistic, depending on your exact stance) portrayals of the family became more commonplace.
I invite you to look at literally any TV show made over the past 30 years. Families are almost always portrayed as rowdy prisons, children are portrayed as nasty parasites, and divorce is portrayed as blissful liberation.
This is an excerpt from “Nuclear”.
To continue reading, visit The Mallard’s Shopify.
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10 Well-Written Female Characters
A discussion on Twitter inspired me to write a companion piece to Dustin Lovell’s wonderful article on the modern portrayal of women in media.
In modern media, there tends to be an obsession with ‘strong female characters.’ That’s fair enough, but these characters tend not to be rather one-dimensional. They’re typically badass- they can wield weapons, wear combat boots, are master shots, can take down men thrice their size, prefer machine guns to manicures and are generally ‘cool.’ If they have to wear nice clothes and heels for an assignment, then they’ll complain about it. They’re not like other girls. They’re one of the guys. They’ll be a love interest, but only after a badass action scene.
Apparently, liking girly things makes a woman boring or uncool. In A Cinderella Story, football player Austin is fascinated that the girl he likes enjoys eating fast food. She’s not like those other girls who like going to the mall and waving poms-poms.
Historically, women were portrayed as weak-willed damsels in distress. That’s not the complete story, as we’ve seen great characters like Elizabeth Bennett written years ago, but it was a general consensus. Instead of making women more nuanced, writers have gone to the other extreme. They’re either whiny or super perfect. There’s no inbetween.
I’ve decided to share ten fictional women who are actually well-written. Not all of them are heroic, some are a bit awful, but they’re nuanced. They’re all strong women who aren’t stereotypical badasses.
*Minor spoilers ahead*
Scarlett O’Hara, Gone With the Wind (Portrayed by Vivien Leigh in the film)
The first line of the epic Margaret Mitchell novel tells us that Scarlett O’Hara isn’t particularly beautiful, but her charm makes men forget that. We first meet Scarlett at the tender age of 16 on the eve of the American Civil War. She’s spoiled, headstrong and popular with the boys. Over the course of the book- which spans over a decade- she grows from a silly teenager to a shrewd businesswoman. Scarlett suffers a lot of heartbreak and setbacks, both during and after the war, but grows from it.
That’s not to say Scarlett is an inherently heroic person. Despite her character growth, she remains somewhat cold, uncaring and selfish. Her vices are not totally numerous, but her virtues do not overcome them either. She is balanced. She does good and does bad. Scarlett’s loyalty to her family, in spite of issues, and home, is unmatched. She does what she has to do in order to survive a post-Civil War age. In some ways, she is a deconstruction of the Southern Belle stereotype. She embodies it before pushing it away when it becomes necessary to survive.
Vivien Leigh plays her wonderfully in the hit film. Despite the film clocking in at three and a half hours, it still does not give us the full picture that the 1000+ page book gives us. Scarlett O’Hara and her love story with Rhett Butler is famous in culture. Flawed but fierce, Scarlett O’Hara is a multidimensional character. Well done Margaret Mitchell, well done.
Elle Woods, Legally Blonde (portrayed by Reese Witherspoon)
Blondes are stereotyped as fun-loving but dim. Elle Woods may be fun-loving, but she’s far from dim. When her boyfriend dumps her (‘I need a Jackie, not a Marilyn’), sorority queen Elle Woods decides to get him back. She does this by applying to, and getting into, Harvard Law. Nobody expects anything from her.
Elle Woods is a great fictional woman simply because she’s essentially the opposite of the ‘strong female lead’ that we expect. Firstly, Elle is not a physical combatant. Her talents lay in her brain. Secondly, she’s super girly. Elle loves pink, shopping, her dog, parties and manicures. Usually, female characters who subscribe to that lifestyle are the mean cheerleaders or the like. Instead, we get a character who’s like a lot of women.
Her getting into Harvard isn’t all that unrealistic. She has a 4.0 GPA, near perfect LSAT, great recommendations and a host of extracurriculars. Elle doesn’t get in because she’s the protagonist, she gets in because she would in real life. On top of that, Elle is genuinely kind and nice. Whilst the other girls at Harvard treat her cruelly, Elle is nothing but nice. She also befriends the beautician Paulette and motivates her. Another great thing about this film is Elle’s sorority. They help her study for her LSAT and are there for her no matter what, despite not understanding her.
Elle shows that kindness and femininity are nothing to be ashamed of. Being a girl is great.
Clarice Starling, The Silence of the Lambs (portrayed by Jodie Foster in the original film)
Often, female characters are written as overly-perfect with a range of unbelievable skills. Clarice Starling is a perfect example of a competent character who is not overblown. We’re introduced to Clarice when she’s about to graduate from the FBI Academy. It’s immediately made clear to the viewer that she’s an excellent student, but not unrealistically so. She’s intelligent, athletic and clearly has the aptitude.
Clarice’s humanity is what makes her so compelling. She’s disgusted by the evil that is shown to her and shows great compassion. Like many protagonists, Clarice has undergone trauma. Writers have a tendency to make their characters victims of trauma pain in that their lives have been awful. Clarice is clearly still affected by said trauma, but realistically ignores it until it’s forced out into the open. She’s vulnerable. It’s normal.
Clarice is also fundamentally a good person. She wants to fight monsters and do so without compromising her morals. She’s also willing to seek help when it comes to the case because she knows it’s needed to save lives. Her relationship with Hannibal Lecter is one of revulsion and respect. Clarice knows he’s evil, but that he’s the lesser of two evils. Morality is hard, but she believes in it.
Anthony Hopkins’ portrayal of Hannibal Lecter is seen as one of the best pieces of acting in recent years, but Jodie Foster still holds her own. They both rightly received an Oscar for their performances. Clarice is played in other media by Julianne Moore and Rebecca Breeds.
Margaery Tyrell, Game of Thrones (portrayed by Natalie Dormer in the series)
Game of Thrones generally suffers from a ‘not like other girls’ affliction. Arya Stark calls other girls ‘stupid.’ Talisa Maegyr disparages the other noble girls who enjoy balls and pretty dresses. That being said, there are some great women in the series. Margaery Tyrell is one such woman. We first meet Margaery when she’s just married Renly, a gay man- something that she’s perfectly aware of. It doesn’t bother her, because she’s got greater ambitions.
Margaery’s greatest asset is her emotional and social intelligence. She’s quickly able to integrate herself in any situation and is one of the few who doesn’t find herself out of depth in King’s Landing. Margaery is aware that her beauty and femininity can open doors for and she uses that. Despite this, she’s not absolutely perfect and does find herself outfoxed more than once.
Whilst a lot of her kindness is essentially PR, Margaery is capable of being very genuine. She is devoted to her family, especially her grandmother Olenna and brother Loras. Margaery also does show compassion towards Sansa Stark, who at that point is living in utter hell.
Princess Leia, Star Wars (portrayed by Carrie Fisher)
It would be remiss of me not to mention Leia Organa when talking about well-written women. She’s been a popular character ever since she debuted in 1977 and remains beloved to this day. We meet the young princess when she’s been held captive but it’s not long before we realise she’d made of sterner stuff. From the moment she’s rescued by Luke, Leia takes charge.
Whilst Leia is a dab hand with a blaster, she’s more at home behind the scenes. She’s the strategist and the brains. She was the one who hid the plans in a robot so that the Empire couldn’t get them. Leia may not be the traditional fighter in the hand-to-hand combat and shooting type, but she’s not exactly passive.
Sometimes she’s flawed. Leia can be abrasive, overly passionate and sharp. She’s also lost loved ones and her home, so of course she’s going to do anything in order to defeat the Empire. Leia is also brave, loyal and ready to match wits with Han Solo. She survives torture and never gives anything away.
Vivien Lyra Blair portrays Leia in the Star Wars show ‘Obi-Wan Kenobi.’
Amy Dunne, Gone Girl (portrayed by Rosamund Pike in the film)
Not every good character is the hero of their story and if anyone deserves praise for being a bit of a villain, it’s Amy Dunne. On the outside, Amy Dunne has a perfect life. She’s beautiful, wealthy, Ivy-League educated and seemingly happily married. Then one day, she vanishes. It seems that her husband has killed her. It’s not quite that simple.
Amy is compelling because she is very, very ahead of the curve. She knows how to make things look a certain way and what people will think. Amy is cold and manipulative, yet hides behind that sunny All-American demeanor. She has some legitimate grievances, but she’s also done some terrible things. Amy also does stumble sometimes, but she’s a legitimately intelligent sociopath.
I don’t want to spoil the story beyond Amy’s character. That being said, Rosamund Pike not getting the Oscar was a sin. There’s something about that way she plays Amy that makes her very sinister and unnerving. As a villain, she’s not super unrealistic. There are no powers or anything. Amy uses her mind. You’re more likely to meet her than Bloefeld or the Joker.
Addison Montgomery Shepherd, Grey’s Anatomy (portrayed by Kate Walsh)
If there was a prize for entrances in a TV show, Addison Montgomery Shepherd would certainly be up for it. She turns up at the end of Series One and is revealed to be Derek Shepherd’s wife. Meredith Grey, the protagonist, had been seeing him but had no clue he was married. The season ends there and one imagines you’ll feel hatred for Addison, but you could not be more wrong.
Addison proves to be a classy woman who treats Meredith well. She also owns up to the fact that it was her that really broke the marriage, though it had probably been doomed for a while. Addison is extremely intelligent, being a world-class double board-certified surgeon in OB/GYN and maternal-fetal medicine. She shows huge amounts of compassion to the women and babies she helps. Addison also becomes close friends with many of the other characters. She becomes good friends with Callie despite the pair being rather opposite.
Of course, Addison is deeply screwed up in her own way. She’s from money (her family is LOADED) but her parents weren’t the best role models. She’s excellent at what she does but is arrogant and not the best communicator. Addison’s popularity allowed her to head the six-series spin-off ‘Private Practice.’ She’s also made several appearances back on GA after officially leaving in Series 3.
Æthelflæd, The Last Kingdom (portrayed by Milly Brady in the series)
We’re slightly cheating here because Æthelflæd is based on a real person, but we’re counting her because it’s not like it’s an exact match. Æthelflæd is only a child when we first meet her, but it’s not long before she’s a grown woman. She proves to be more than a match for her famous father, showing herself to be intelligent, spirited and wise.
When her husband died in real life, Æthelflæd was named Lady of the Mercians. Women in leadership roles were extremely rare at this time, so people must have thought very highly of Æthelflæd to allow her such an honour. In the show, it’s clear why. She’s devoted to her adopted land, protects the people and gives good counsel. Æthelflæd also isn’t afraid to get her hands dirty.
She scores great victories but also suffers defeat. Her love for her family, especially her daughter, and her people is unwavering. Æthelflæd is sometimes naive, but she knows how to learn a lesson and grow from it.
Jody Mills, Supernatural (Portrayed by Kim Rhodes)
Supernatural ran for a long fifteen series and it was often criticised for its treatment of female characters. One woman who received wide praise and frequent billing was Jody Mills. We first meet Sheriff Jody Mills in series five. She’s a policewoman in a small town and she immediately shows off her credentials when she assists the protagonists with their supernatural foes. Jody proves an important ally to the Winchesters as a recurring character.
Fundamentally, Jody is capable. She’s excellent with a firearm, has a cool head and thinks logically. Whilst she prefers human cases, she’s always a good person to call. Jody has seen a lot of tragedy in her personal life but breaks out of the cycle by helping those in need. Her home is open to orphans and runaways and strays in need of security. Jody is a great friend and pseudo-mom.
You’ll always see Jody in social situations and she’s got a knack for forming friendships that the leads don’t. There’s also a maternal aspect that isn’t mocked or laughed at. That capacity for kindness is what makes Jody who she is, whether she’s in uniform or at home.
Ellen Ripley, Alien (portrayed by Sigourney Weaver)
How could we leave out sci-fi’s greatest heroine? Ellen Ripley burst onto (if you’ll pardon the pun) our screens in 1979 in Alien. Since then, the character has remained a perennial favourite and is widely regarded as one of the coolest women on screen. In the first film of the series, Ripley is part of the crew of the Nostromo, a spaceship which answers a distress signal. If you haven’t already guessed, what’s calling is not human. Ripley is already level headed as a crewmate but really shows herself off when things go bump in the night.
There’s a reason why Ripley is so popular. Not only is she competent, but she keeps a cool head and works with the situation. She may seem cold, but her pragmatism really helps save her life. Ripley is what you expect of an action heroine- not particularly feminine, surrounded by guys, yet she’s written with more depth. Aliens expands her role- she’s more prepared to take on the enemies this time. Her relationship with young survivor Newt is heartwarming. She just fundamentally wants to help.
Ripley was written as a man, but was flipped to a woman in production. Is that why she’s well-written, because she was not imagined as a woman at first? I’d argue that the character would still be cool as a man, but Weaver’s portrayal gave Ripley that extra depth. She’s one of the guys, but not in that cringe, women-hating way. She’s Ellen Ripley.
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An Interview with Fen de Villiers (Magazine Excerpt)
Sam: A common criticism I hear from people on our side of the ‘cultural divide’, regarding Vorticists and Futurists, is that the avant-garde, as a concept, is antiquated. Do you think that’s true, or do you think people are being a bit too pessimistic about its potential?
Fen: Being pessimistic and cynical is something inherent to people who are more on the conservative spectrum, but I think that one must look back to go forward; you can clasp at the fire and the energy of a certain group or a certain movement, and then you can run forward with that. I don’t think it’s a case of saying, you look back at them and stay there.
I think that it’s going to take time, movements, and art styles to take a while to mature and find a new way. I don’t at all believe that we simply just have to take on what they do and just reside there.
Sam: In other words: “it’s not worship of the ashes, it’s the preservation of the fire.”Fen: Yes, absolutely. I think what’s important is that if you are going to throw this forward – I mean, the futurists were, for example, very excited by the motorcar and the aeroplane and flight, because that was the period that they were in.
I don’t think we need to be excited by the aeroplane in the material sense. However, I think we can be excited about something. That visionary and Faustian spirit is deeply ingrained within our European psyche. I think we get excited about going on and going forward. I don’t think it’s a case of simply just regurgitating the platitudes or what they were doing. It’s about finding a place for that energy now.
It’s really about energy and celebrating force over death and decay; the latter of these is what the current regime works on. It’s the cult of the victim. This is not glorious stuff. This is not about going upwards towards something higher: this is about keeping you on the lowest level. For me, that is not how life is, that’s not how nature is: it is a lie. It’s not a culture that has any sort of fire in the belly. It doesn’t make you want to live.
This is an excerpt from “Blast!”. To continue reading, visit The Mallard’s Shopify.
Photo Credit: Fen de Villiers
