“You’re a socialist, how can you hate people?!”
The line is directed towards Marion, the genderqueer activist, café worker and counterpart to Robin Good.
The audience laughs goodheartedly at the oxymoron. Taken aback, I find myself laughing along. Soon after, Marion decides to run in the election to oust the Tory-coded Sheriff of Norwich, alongside Robin, and their drag queen father, Stratton Strawless.
CW: sexual assault, rape
David Wiener’s TV adaptation of Huxley’s classic dystopia launched on Sky One and Peacock on July 15th 2020.
Set in New London – in a society where class is enforced by genetic engineering and hypnopaedic indoctrination, the use of the euphoric drug soma is universal, public orgies are wholesome fun and ‘mother’ is a swear word – Brave New World is a novel with many themes. One of them is misogyny and the mechanisms by which it is expressed and perpetuated. Consequently, the portrayal of the novel’s central female character, Lenina Crowne, and her relationship with John the Savage (the emotional core of the story) are huge contributing factors to the success or failure of any adaptation. Wiener faces the challenge of depicting a society he describes as ‘hugely problematic’ without condoning it, which raises questions about how the problematic aspects of the novel could, or even should be, adapted.
Few novels with openly queer protagonists are as enduringly loved, or have achieved such acclaim, as Patricia Highsmith’s The Talented Mr Ripley.
Tom Ripley is a charming, Machiavellian antihero whose talents include ‘forging signatures… and impersonating practically anybody’, and whose unreciprocated worship of Dickie Greenleaf, the prodigal son of a New York shipping tycoon, leads him to kill Dickie and assume his identity. He is also asexual, yet not a single adaptation of Highsmith’s work has addressed this. With a new adaptation in the works, in the form of a Showtime drama directed by Steven Zaillan and starring Andrew Scott, it’s important to acknowledge and reflect on the ways in which this aspect of Ripley’s character has been erased.
by Eli Lambe
CW: victim blaming, transphobia, homophobia, rape
Sitting in my mum’s living room, vaguely paying attention to what she had loaded up ‘on-demand’, I started to get antsy and agitated. The programme, a gritty ITV crime-drama called “Cold Blood” kept jumping out at me with its thinly veiled victim blaming, transphobia and homophobia. Because it was being played ‘on-demand’, the same few ads kept popping up. This, along with a summer of conversations that continually went nowhere, prompted the following rant/doodle/mess…