The Difference Between Flat and Complex Characters

Now that the Ducktales revival is about half-a-season old, I can say that, while it is good, it’s not quite as good as I had hoped it would be. Part of the problem is that they go for the joke far too often, preventing the characters from developing much weight and consequently from engaging us in their struggles. They don’t do this all the time, but often enough for it to detract from the show (e.g. a potentially intimidating mummy monster is defeated by folding it up in a giant burrito).

This especially applies to Launchpad. Now, I haven’t gotten around to revisiting the original show in a long time, so I can’t remember if he was portrayed as this stupid in that one, but whichever is the case, it definitely is to the show’s detriment. See, Launchpad isn’t only an idiot, he’s just an idiot. As in, that’s basically his entire character: genial moron. He’s completely incompetent at what he does (raising the question of why Scrooge hired him in the first place), more childlike than the children, and most of the time seems barely functional. Yes, he’s gets a laugh fairly often, but he’s a very flat character.


Take a recent episode that focuses almost entirely on him; he’s afraid of losing his job if Scrooge decides to go with a robotically-driven car being marked by a business rival, so he challenges the machine to a race to see who will get the job. There is the potential for genuine character development. But, no; the whole thing becomes just another ‘Launchpad’s an idiot’ joke, with him filling up his windshield with reminder notes, crashing immediately, and trying to finish the rest of the race on different vehicles.

That’s what I mean by Launchpad is a flat, one-dimensional character: if you say “he’s a genial idiot,” you’ve basically described everything there is to know about him, and everything he does proceeds from this description.

Contrast this with a complex and three-dimensional character: Pinkie Pie from My Little Pony.


You could describe her as a lovable goofball, but that’s not all she is. For one thing, though she’s the source of much of show’s humor, she’s not just an idiot. Actually, she’s not an idiot at all; she’s shown to be very intelligent, just eccentric and happy to play the fool if she think’s it’ll get a laugh. But she can be thoughtful and perceptive, especially on matters that interest her (for instance, she’s the first one to notice something wrong with the way the ponies in Starlight’s village are smiling, since “I know smiles”). She puts in the time and works hard in pursuit of her goals, and is a recognized expert in her own subject of baking and throwing parties (By contrast, Launchpad doesn’t even understand the controls of his own plane and destroys it trying to figure out what a specific blinking light meant).

Pinkie’s also shown to have very clear motivations: her mission in life is to make others happy, and her whole being is directed to that end. However, this sometimes causes problems if the person she meets doesn’t share her tastes in fun, or if she misreads what they want, or if she’s too preoccupied with having fun herself to realize the other person isn’t sharing it. Thus she constantly has to work at balancing her own immediate desires with her more fundamental motives. Coupled with that is the fact that she does work very hard and can easily be hurt or depressed if it seems her efforts aren’t appreciated (e.g. there’s an episode where she finds out that Rainbow Dash has been secretly throwing out all the pies Pinkie’s made for her, which causes Pinkie to explode with anger at her).

So, Pinkie’s allowed to be very smart and very competent on her own ground, and she has clear, multilevel motivations. But what really makes her a well-developed character is that she has a full range of human emotions and reactions. She’s not sunny and optimistic, or even just funny all the time; she has moments where she gets honestly angry, frustrated, depressed, sad, and hurt. She experiences self-doubt, she makes mistakes and learns from them, she’s forced to recognize her own limitations and try to overcome them. She has a clear motivation that she has to balance against her immediate needs and desires. None of that applies to a character like Launchpad, whose role is only to make the audience laugh.

For instance, there’s an episode where Pinkie takes on a babysitting job, only to find herself overwhelmed. Then, midway through, Twilight shows up and offers to take over. Pinkie’s all but desperate to have her do so…until Twilight innocently comments that some ponies simply aren’t up for the responsibility of watching little kids. Pinkie then immediately turns her down, determined to prove that she is responsible. That’s a very real, very human progression: Pinkie finds herself overwhelmed and wants someone to bail her out, then realizes that bailing out would mean admitting that she’s just as irresponsible as everyone seems to think, so she determines to see the thing through no matter what.

You can’t picture the new version of Launchpad, or a similar character like Soos from Gravity Falls going through that kind of progression, or experiencing that blend of desperation, doubt, and hurt pride: of being stung by what others think of you even as you fear they might be right.

Or you have things like Pinkie genuinely trying and failing to like her sister’s new boyfriend, then working to figure out how to react to this, or her progression from suspecting Rainbow Dash’s friend Gilda of being a jerk, to suspecting herself of being overly possessive, or trying to figure out how best to help someone who insists they don’t want to be helped.

Basically, even though she’s comic relief, Pinkie Pie is convincingly a person, whereas Launchpad is just a vehicle for jokes. Pinkie’s character makes sense on its own terms and in relation to the others, and she’s perfectly capable of carrying a dramatic scene without breaking character (heck, Pinkie gets some of the strongest dramatic moments in the series). Despite her goofiness, her emotions and reactions are convincingly real, which means we feel them right along with her.


Launchpad’s presence is dictated by the writers (there’s really no reason for the other characters to keep him around) and he could never convincingly create drama because he’s too inconsequential. He’s so stupid and his reactions so overblown and ridiculous that his emotions don’t matter: we don’t ‘feel’ his pain because we never see him as anything but a source of humor.

That’s the difference between a one-dimensional and a three-dimensional character: Launchpad exists to be comic relief. He has very simple motivations, very simple reactions, and he predictably will always be used as a joke. Pinkie Pie, though a major source of comic relief, is an integral part of the cast with her own multilevel motivations, her own conflicts, and her own struggles. Launchpad is a tool for the writers; Pinkie is a person.

Giants were Upon the Earth in Those Days


There is a strange passage in Chapter Six of the Book of Genesis. In the Duay version it runs thus:

And after that men began to be multiplied upon the earth, and daughters were born to them, The sons of God seeing the daughters of men, that they were fair, took to themselves wives of all which they chose…Now giants were upon the earth in those days. For after the sons of God went in to the daughters of men, and they brought forth children, these are the mighty men of old, men of renown. (Gen. 6: 1-2, 4)

As it happens, this fits with a train of thought I’ve been considering lately. It is this: I rather suspect there is more truth in myths than we generally admit.

For instance: Plutarch quite frankly considers Romulus and Theseus to have been historical figures. He disputes some of the more fantastic elements – e.g. the Minotaur – but otherwise presents their stories as simple historical accounts, including the supposition that they may have been sired by gods.

Now, leaving aside the question of parentage, I for one can see no real reason for doubting that Theseus, Herakles, and other famous heroes of legend were real people. I think we moderns are far, far too apt to consider “made up out of whole cloth” as a reasonable explanation. Me, I don’t think something that important to so many people could have been successfully made up out of nothing. At the very least, I have to figure that these are historical figures whose stories were expanded over time, and that the core events of their lives happened more or less as described. That is, I honestly think there really was a set of illegitimate twins named Romulus and Remus, they grew up to become very powerful in the region and either founded or took over what became Rome, and that the one killed the other in a quarrel.

So far, I suspect you’re with me. Now I’m going to start sounding crazy. I’m going to suggest that, perhaps, some of these very important, yet obscure figures at the dawn of history really were the children of ‘gods.’ That is, I don’t think it’s outside the realm of possibility that supernatural beings can and have had relations with human beings and produced children, who subsequently founded dynasties that became the world-shaping powers we know from history.

Before you reject the idea, ask yourself why it is impossible. The Bible seems to take the possibility as a matter of course. If we accept the idea of supernatural beings, then we must confess that our knowledge of their powers and limitations is hardly enough to put hard and fast limits on what they can do. We don’t have anything like enough real evidence of the lives of Theseus, Romulus, or so on to prove parentage. And it doesn’t seem antecedently improbable that Rome, Athens, and other great cultures who have exercised such influence on the world have their origin in beings more than human.

You may reply that, assuming these people lived, it’s much more likely that the stories of their divine parentage were just later embellishments. Perhaps that’s true. Only remember: one, to establish probability in such a case we would have to have knowledge about how and why supernatural beings might be expected to intervene in human history, or might have been expected to do so at that time, which is knowledge we simply do not have (you can’t really expect the gods to submit to laboratory testing). Two, it very well might have happened the way you describe, but, and here’s the big but, there is no way to say for certain that it did. That something may have happened a certain way is not proof that it did happen that way (side note: this is something people who talk about evolutionary psychology really need to keep in mind).

I’m not going to insist that Theseus was really a demigod. I am only going to insist that we don’t know that he wasn’t. Our present state of knowledge does not exclude that possibility: only the present climate of opinion. It is the fashion, even among Christians, to dismiss the supernatural except when forbidden by dogma to do so…and sometimes even then. This, I think, is a mistake and gives us an overly narrow view of the world and of history. Moreover, there’s no reason to do so: science, by definition, cannot prove or disprove the supernatural. We know from the deposit of faith that there are supernatural beings at large in the world, and the general account of mankind concurs while offering an endless line of testimony of how they have interacted with humanity. It seems to me only reasonable that some of those stories are more or less true, and it seems equally probable that such supernatural beings had a hand in the creation of the great influential powers and states of the world.

In any case, it is a possibility to keep in mind. When we hear historians speculating on what caused the prophecies of Delphi, we shouldn’t neglect the most obvious explanation of all: that they came from Apollo.

Anti-Gun is not Pro-Life

[Note: I wrote this piece for another site, but since it doesn’t seem to be being published there I’m putting it here. It’s intended as a bit of a companion piece to my most recent ‘Federalist’ article].

I’ve heard some people talking about the recent student march in Washington saying things like “it’s really a pro-life march” and “gun control is a pro-life position.”

Let’s put a stop to this nonsense right now, shall we? Whatever your ideas of gun control are, anti-gun is not pro-life; it is just anti-gun. To call it pro-life is a cheap rhetorical trick, akin to saying that those who opposed Obamacare opposed all healthcare reform, or that those who are against affirmative action just hate Black people. It’s what’s called the straw-man fallacy: purposefully misstating your opponent’s position in order to make it appear weaker than it is.

To be against abortion, or euthanasia, or other such things is to be against a clear, concrete practice. It amounts to a tautology: don’t kill people and those people won’t be killed. It is a matter of principle that it should not be legal to willingly take an innocent human life for any reason because it is wrong.

To be in favor of gun control, on the other hand, does not generally mean to be against weapons in principle (few people would advocate the overthrow of the military, police, and similar institutions). It means that we believe removing or limiting privately owned firearms would reduce violence. That is, it is the idea that enacting certain laws will result in certain effects.

Now, whether or not they actually will is not the present concern; the point is that we are talking about a means to achieve a goal, not about the goal itself. The end desired is less violence; the means being discussed is greater restrictions on firearms.

You see, having fewer guns available, or even outright banning private firearms (assuming such a thing could be done) is not the same thing as reducing violence. Again, don’t think I’m saying more than I am: for the purposes of the present discussion, it may have that effect, but my point is that it is not an obvious or indisputable connection. It is open for debate. If you make abortion illegal, then quite simply there are no legal abortions. There is an essential connection between what is enacted and what is achieved. That is objectively not the case with gun-control.

The key difference is that, when it comes to guns, the thing we desire to stop is already illegal and we are only discussing ways to further discourage it. When it comes to abortion, the thing itself is what we are trying to outlaw.

In other words, one is a matter of principle, the other of strategy. One is a debate over whether to permit certain practices that by definition involve killing people. The other is a debate over whether or not certain new laws would reduce violent crime and to what extent they would infringe on legitimate individual rights. This is not a matter for discussion: that is objectively what is at stake in each case.

The distinction is further complicated by the fact that guns are often purchased and used to protect lives. The justification pro-gun advocates use is precisely that they need guns to defend themselves, their families, and their rights, and it is simply an objective fact that guns are often used in this capacity. You can debate how great a need this is and how it compares to the potential for abuse, but you cannot argue that it does not exist. Furthermore, if you intend to argue that without guns those killed by them would be alive, then you have to accept the counter argument that without guns those who have used them defensively would be dead or at the very least assaulted. I don’t think either argument is very good, but the point is that can’t accept one without accepting the other.

As this indicates, you cannot simply claim that gun-control is ‘pro-life’ because it is an open question whether it will actually lead to less violent crime. You could just as well say that being pro-gun is pro-life because guns are used to protect life and deter crime. Again, I am not currently arguing one or the other; I’m saying that they are rhetorically equivalent and thus calling either one ‘pro-life’ – equating it with opposing the legal killing of innocent people – is disingenuous. It is claiming a one-to-one progression where none exists.

More importantly, it is dishonest. To say that being pro-gun control is to be pro-life is equivalent to saying that someone against gun control is anti-life: that is, that they want more violent crime, or at least think that violent crime is a matter of indifference. You see, it’s a disguised straw-man attack, obliquely misstating the opposing position to make it appear weaker than it actually is. It is the sort of thing a con-man or snake-oil salesman does: if you doubt the efficacy of his patent blindness cure, that means you think blind people don’t deserve to see.

Do you see the point? The objection is not to the intended goal, but to the proposed method of reaching it. You cannot describe a means to an end as being either pro-life or otherwise, because ‘life’ (here meaning the reduction of violent crime) is the end goal and the debate is over how best to achieve that. Whatever your views on the issue, please have the honesty to acknowledge what is being discussed.

The Two Thieves


All four Gospels note that Christ was crucified along with two others. These two are described as ‘thieve’ or ‘robbers,’ though this is sometimes rendered ‘revolutionaries’ or simply ‘criminals.’ One was crucified on His right, the other on His left.

Viewed from a modern perspective, the designation of right and left is a little interesting, especially if we take the interpretation that they were revolutionaries. If we follow it out, it could be taken as an interesting perspective on Our Lord’s relation to politics.

First of all, the linking of the terms ‘revolutionary’ with ‘robber.’ Apparently, the same Greek word ‘Iestes’ was used for both. I’ve heard several reasons for this, from the idea that revolutionaries were attempting to steal from the Romans to the notion that it was a way to avoid letting the Emperor know of revolutions. For our purposes, the background doesn’t really matter, provided the two terms were linked.

It is a quality of both a thief and a revolutionary that his focus is on the here and now. The thief wants a certain object so much that he takes it regardless of the law, the revolutionary wants a certain social or political state so much that he fights for it. Either one may or may not be justified by circumstance, but both have the quality that their aim is a change in the material world.

This is also a quality of politics: that its focus is entirely upon the here and now, or at the very least what the future here and now may be made to be. It is the science of organizing human society in the way thought best. Even if this is done for the purpose of establishing justice, liberty, or other abstract values, it is still establishing them in the present world and by the means of social organization. Politics, thus, is a fundamentally earthly practice.

Now, let us take the two criminals as revolutionaries (this interpretation is supported by the fact that crucifixion was generally associated with acts of sedition rather than more typical crimes). Again, the fact that one is on the right, the other on the left is interesting, though obviously it carries a significance to us that it wouldn’t have for St. Luke. We needn’t fear reading it thus for that reason, though; there are no coincidences in revelation.

The right and left revolutionary, therefore, may be taken as images of political movements in general. One on this side, the other on that. If we take it thus, what does the image imply?

First that politics ultimately comes to nothing. These revolutionaries fought for their particular cause and ended up crucified. In the end, their efforts were futile and led to nothing but death and disgrace. Politics, though it may be important in the short term, is ultimately a dead end. The promise that this or that political system will solve the ills of mankind is a lie.

Note that they are being crucified along with Christ, who is bearing the sins of the world. They suffer the same fate, but without the salvific character. It is Christ who can save them, if they will allow it, not the other way around. Politics, thus, always must be subordinate to Christ.

Now, the reactions of the revolutionaries to Christ are instructive. One of the two blasphemes Christ, demanding that He save their lives if His is the Christ. The other – traditionally called St. Dismas – rebukes him and begs that Jesus remember him when He comes into His Kingdom.

Again we see the focus on the here and now. The one revolutionary, even in the process of dying, still has his mind fixed upon earthly things. He is, in effect, standing in judgment over Jesus, setting his material well being as a condition for belief. One recalls how certain political movements have done similar things: from Communists taunting Christians to pray to God for bread to moderns attacking prayers offered in the wake of national tragedies. Politics of a certain sort has always claimed the right to stand in judgment of God over the material state of the world.

St. Dismas’s rebuke shows another approach. Though he’s given his life in a political cause, he yet retains a perspective on where politics stands relative to God. He admits that his punishment and that of his companion is a just one; they have indeed committed the crimes they are accused of and must suffer for it. Upon the cross, he lets go of his political motivations and speaks only of justice and fear of God. He subordinates his political concerns to his piety, merely begging Jesus to have mercy on him.

Thus we have the place of politics relative to God: the evils done in its name are done on all sides, whether for a good cause or an ill. The righteous politician or revolutionary is the one who sees that God is beyond all such things and places himself under the mercy of Christ. The unrighteous is the one who tries to subordinate God to his own interests.

In summary, politics cannot save but itself needs salvation, politics leads men to do evil, for which they are justly condemned, and all politics is subordinate to the claims of Christ.


New Federalist Article

…With a title that doesn’t really match the point. I didn’t want so much to make a simple ‘abortion kills more people than guns’ argument, but to point out how fundamentally different the two positions – pro-life and pro-gun control – really are.

Oh, well: go check it out for yourself 


Of course the most obvious distinction is in the subject matter: one favors limiting or ending gun owners, the other limiting or ending abortion. Let’s consider the two subjects, for here the crux of the matter rests.

Gun rights deal with a person’s right to own a particular tool for a particular purpose. Put briefly, a gun is a weapon; weapons are used in fighting. People want to own guns so if they ever need to fight to defend themselves, their families, or their rights, they can do so effectively. There are obvious and legitimate reasons why they would want this, ranging from violent attackers to civil unrest.

But, although they have legitimate uses, guns by nature are open to abuse. They allow a person with evil intent to inflict more damage than he would otherwise. Gun-control advocates argue the potential for abuse is greater than the legitimate need for private firearms, at least with regards to certain weapons. In other words, gun control advocates wish to limit access to guns in order to limit their potential for abuse.

Abortion rights deal with a person’s right to do or have done a particular procedure. This procedure, by definition, destroys a human life: specifically the human life the people in question created by having intercourse, whether consensually or violently. They desire this because, to one degree or another, the life to be destroyed is unwanted or inconvenient and was not intended to be created.


Although the reasons for wishing to destroy this life may be understandable, abortion still destroys an innocent human life. Moreover, in most cases that innocent human life was created by other people voluntarily engaging in an act they knew could lead to this outcome. Pro-life advocates argue that deliberately killing an innocent human being simply cannot be justified, save in cases of direst need such as when the life of the mother is at stake.

In other words, pro-life advocates wish to forbid a particular action that, by definition, destroys a human life.

Note the difference: one involves a right of possession, the other of action. To own a gun says nothing of how it is used, and there are clearly legitimate reasons someone would want to own one. To perform an abortion, on the other hand, means to kill a human life, and the only question involved is whether such an act can be justified. Gun-control advocates argue that the undeniable potential for abuse outweighs the undeniable goods derived from gun ownership, while pro-life advocates argue that abortion itself is an unjustifiable action.

What’s Wrong with ‘Victoria’

As I’ve mentioned before, I’ve been watching Masterpiece’s Victoria. I really love the Victorian era as a historical period, so I ought to love this. But I don’t. It’s not…bad, but it’s not very good either. The actors are good and very well-cast in general, the characters are mostly fairly enjoyable (I especially like the Duke of Wellington, Robert Peale, and Diana Rigg as an ancient battleship of a duchess), and the relationship between Victoria and Albert is played up for all it’s worth. The sets and costumes are very nice to look at.

The trouble is the writing, for two reasons. First is that it’s pretty contrived and very melodramatic, as well as being kind of clunky and heavy-handed.

I previously wrote about the scene where Victoria and Albert, pre-marriage, find her dog, Dash in a snare and somehow it ends with him yelling at her regarding the poor, forgetting the dog entirely. That sort of thing happens fairly often. That’s what I mean by it being heavy handed: the transitions are not properly set up, the characters don’t always act believably to move from one scene to another, and the guiding hand of the writers is visible all-too often.

Or there are complications that show up out of nowhere and do nothing just to pad out the subplots for a little while longer, like the would-be romance between the chef and the dresser is briefly complicated when she finds out he’s been seen talking with another woman. Turns out she’s someone from America trying to hire him for a restaurant. This is wrapped up in two episodes in maybe five or ten minutes of screen time, we never find out just who the woman was, and we move on. It served absolutely no purpose except to drag things out a bit and a gin up a little extraneous drama.

Or characters are ignorant of things they ought to know about: when Victoria gives birth to her first child, in the middle of labor she notices a group of ministers standing outside her door and asks what they’re doing there (they’re ensuring against a substitution). She didn’t notice them at any point in the past few hours? No one thought to let her know about this practice at any point in the past nine months?

Then there are just moments that made my roll my eyes. When Victoria’s beloved dog dies, she walks in and finds his body in the middle of her bedroom. Was no one in charge of looking after him? Did no one check the room to make sure it was ready to receive the Queen? None of the servants had been in there recently? I may be wrong, and it may have happened like that, but…well, I’d lay long odds against it.

Also, the Queen’s household is oddly small: we’re told it measures in the hundreds, but we only ever see the same half-dozen or so servants hanging out in the kitchen.

The historical events are portrayed, but in a slapdash and generally simplified manner. The first assassination attempt is played up as her evil uncle possibly attempting to usurp the throne…which goes nowhere, as the show is constrained by the historical record that the man was just an obsessive lunatic. It plays up the melodrama as much as possible, but since it’s also trying to be somewhat historically accurate it can’t deliver much of a payoff.

So, the show is pretty clunkily written. But I don’t think I would mind that so much if it weren’t for the other problem, which is that it just feels off. The best way I can describe it is that the characters don’t act like Victorians so much as a modern person’s idea of Victorians.

There’s one episode, for instance, when Victoria comes home from opening parliament in her full regalia; mantel, sash, and so on. As she walks in, she drops the mantel casually to the floor, takes off her sash and tosses it aside, and so on. That’s something a modern person would do, but the Queen of England circa 1850 would never imagine doing this (again, none of her servants are on hand to take her very expensive and important regalia for her?).

Likewise there’s the fact that everyone we’re not supposed to like is extremely rude and condescending to Victoria. Now, I can buy that people and politicians of the time would be dubious about an 18-year-old girl ascending to the throne, and I can buy them muttering about her in private, but she’s still the Queen, not to mention that this was a time and situation in which manners were given very high priority: I do not believe that these men would speak to her like this. When Sir Charles Trevelyan is telling the Queen about the Irish situation, he makes a condescending comment about teaching her about it “when she’s finished with her nursery duties.” Again, he’s talking to the Queen of England; why would he make that kind of comment?

The reason is that we’re not supposed to like Trevelyan and having him talk down to our heroine is an easy shortcut to that (because his disregard for the starving Irish isn’t enough, I guess). But it doesn’t feel authentic; it’s the modern trope of the condescending Victorian male who casually talks down to the plucky heroine. This is a way for the writers to signal to us the viewers that, though we are in the Victorian era, we know that is was really a very bad time.

Now, I am perfectly aware that, by our standards, many men in the Victorian era had a very narrow attitude towards women in general. The expectations for what was proper for each sex were very firm, and though there was some flexibility, it came at the price of being conspicuous. Medical science made broad and unjustifiable statements about women’s mental capacity, emotional stability, and so on. In short, the attitudes of the day were not ours and in many cases were simply unjust and wrong.

However, this trope of men being casually rude and dismissive towards women in person rather than in theory (two very different things) is one that I find extremely annoying, as it doesn’t ring true for me. If nothing else, didn’t they have basic manners in the Victorian era?

The thing is, I don’t see this much in actual Victorian literature. Quite the reverse, actually: Victorian characters tend to go out of their way to be complimentary and polite towards women. Take Dickens’ Bleak House, for instance (published between 1852 and 1853). You have numerous female characters of all different personality types. There’s Esther, the heroine, who is quietly sensible, generous, and part way through is made the housekeeper for a large mansion because she is recognized as being intelligent and having very sound judgment. There’s Mrs. Jellyby, whose time is wholly taken up with arranging charities for children in Africa, leaving her family to fend for themselves. Her daughter, Caddy, befriends Esther, marries her dancing instructor, and sets about teaching herself different skills in order to be useful. Then there’s Mrs. Pardiggle, an officious busy-body who goes about doing ‘good works’ that annoy the poor without actually helping them.

This is just a small sample (it’s a Dickens book: there are tons of characters), but the point is the each of these female characters are very active, busy, and hard-working in their own way, no one tells them they need to stay in the kitchen or talks down to them for being women. They’ll tell them off for being foolish, annoying, or troublesome, but the kind of casual rudeness that is de-rigor in contemporary stories set in the Victorian era is, in my experience, all-but unknown in stories actually written in the Victorian era.

Now, let me be clear: I am not claiming this means it didn’t exist. Fiction is not real life, but fiction is a reflection of culture and values that were present in real life. It’s not a record what happened, but it is a record of what people were thinking about. That is why I like looking at fiction from different time periods: it is a more ‘inside view’ than reading historical accounts. The fact that I don’t see this sort of thing in Victorian fiction tells me that either it wasn’t particularly common or that people didn’t think of it much, meaning that it wasn’t taken as an insult (and if you’re going to say that’s because Dickens was a man, I don’t see this sort of thing in Jane Austen – pre-Victorian – or the Bronte sisters – though admittedly I haven’t read much of the latter). Take it for what it’s worth, but in all my Victorian and pre-Victorian reading (which I confess I haven’t done nearly as much of as I would like) I can recall this sneeringly dismissive attitude occurring only a handful of times…and always at the hands of people we’re supposed to dislike. Half they time, they’re women.

In short, I am not saying that this kind of dismissive attitude didn’t exist in the Victorian era. I am saying that, to the extent it did, it certainly was not expressed like this. That’s why this sort of casual rudeness feels very artificial to me, an imposition of modern views onto a pre-modern setting.

There are a lot of things like that in Victoria, from the Obligatory Gay Couple™ to Victoria complaining about post-birth purification and replying to someone referring to her new baby as a gift from God with “God had nothing to do with it.” These strike me as modern sensibilities foisted upon a distinctly pre-modern world, either because the writers weren’t able to project themselves into that mindset, didn’t wish to, or thought the audience wouldn’t go along with it. I find this extremely annoying because it seems unfair to the Victorians that they’re not simply allowed to be themselves and let the audience judge how we like them. Like many contemporary stories set in the past, the main point seems to be to make the modern world look good.

For a counter-example of this sort of thing, I recommend the 1995 Pride and Prejudice BBC adaptation, which was content just to let the story play out and allowed the characters to talk and act like people of their time and place (e.g. the only one really complaining of the entail was silly Mrs. Bennet, whom we’re not supposed to take seriously, rather than having Jane and Elizabeth lamenting the unfairness of it all). The 2009 adaptation of Emma did this as well: I suppose writers are a little wary of messing with Miss Austen.

Anyway, that’s my opinion of Victoria: not bad, but kind of shallow and artificial.

Another Quick 1950s Thought

I’m a little amazed that no one seems to remember that the most popular and influential television show of the 1950s centered around an interracial couple: Lucille Ball and Desi Arnaz.

Or does that not count? If so, are Cubans considered ‘white’ now? Then I guess Hispanics don’t count for ‘diversity’ purposes, right?

You know, if we’re going to base our society on dividing people into categories, we should at least settle those categories ahead of time.