This is a post about True Detective. There will be no spoilers.
You know…when I finished the final episode of True Detective, HBO’s bromance about a pair of mismatched Louisiana cops investigating the ritualistic cult killings that have long been buried by Bayou water and Spanish moss, I didn’t know what I thought. I knew that Matthew McConaughey acted the shit out of that part, and so did his ponytail. I knew that I admired the show’s gorgeous cinematography, great soundtrack, and brilliant pacing. I appreciated the creative timelines and complex, layered storytelling of the editing team. I know that this show was well made.
But the more I tried to articulate to other people what I liked and disliked, the more I realized that everything I liked was shiny surface crap, and everything I disliked was meaty substance. I read a lot of internet commentary, some that declared it a masterpiece, and some, like Emily Nussbaum’s New Yorker essay, that pointed out how shallow these eight episodes really were.
Let’s start with the “woman question.” Why? Because this is a blog about feminism and gender and media. Duh. Don’t like it? Leave.
The ratio of real female characters with feelings/opinions/emotions to naked prostitutes/strippers/floozies with no feelings/opinions/emotions is 1 to about a billion. Even the director, Cary Fukunaga, answered the woman question similarly in a NYMag:
“I mean, it’s true: the show wouldn’t pass the Bechdel test. That’s not necessarily a factor by which we should measure everything. It’s a story about two guys and that’s what it focuses on. It certainly does not focus on the women characters other than what it needs to to service the Hart story line.”
[As a reminder; the Bechdel Test isn’t a test of quality (good movies fail it, bad movies pass it). It is merely a test to see whether there are women of substance in a piece of media who exist as three-dimensional, autonomous characters who act with agency.]
Now, does everything have to pass the Bechdel Test? No. There is a place for bromances and buddy comedies and bachelor party narratives and war stories and sports tales and all of the other types of male-centric content. Those are good stories to tell. Remember Rescue Me? I loved that show. Ender’s Game barely passes it and that’s one of my favorite pieces of writing ever.
The problem is most of the stories that get told fail the Bechdel test, especially the “prestige” stories, the well-funded stories, and the oft-cited-as-art stories. So yes, it’s okay that True Detective, specifically, doesn’t pass Bechdel, but no, it’s not okay that so much of what is viewed as quality misses this most basic of thresholds.
Moving on. So, if I’m okay with the lack of substantive female characters on TD, where does that leave us? Male gaze. Sigh. Man, do I hate this one.
As a refresher, when we refer to “the male gaze,” we mean media that is created from a uniquely male point of view that typically uses aesthetic strategies that objectify women, reducing them to body parts and/or exaggerating sexuality, beauty, and femininity over a comprehensive set of human traits. It can be as simple as a camera shot that lingers on the breasts of an actress. It can be the ratio of male to female nudity (ahem, Game of Thrones). It can be anything that stylistically indicates that this content was made by men, for men, to the detriment of women.
Think about how we meet Maggie, Marty’s wife (played by Michelle Monaghan) in the very first episode of TD. She’s lying in bed on her side, facing away from the camera, butt exposed. We literally see her semi-naked body before we see her face, hear her voice, or know her name. Similarly, the first dead victim we meet is naked, which is crucial to the plot, but the camera lingers on her ass, panning up and down her body. It is gratuitous as hell, unless you enjoy seeing naked female butts.
As Emily Nussbaum puts it, “TD was about the evil of men who treat women as lurid props, but the show treated women as lurid props.” Or, as I put it to a friend via gchat today, “it’s like… you don’t get props for being like RAPISTS ARE EVIL if in your very structure and dialogue and character, you are contributing to the culture that objectifies women and enables rape culture.”
You are either part of the solution or you are part of the problem. There is no neutrality, no “I’m just making a bromance cop show! This has nothing to do with gender politics!” I mark that position invalid; if you think you are contributing to the TV canon of greatness, then you don’t get to opt out of this conversation. You will be judged on how you portray women and girls, as you should be. We are half of the goddamn population. That doesn’t mean you need to portray us as saints or angels, only that a show that visually treats women like objects doesn’t get to play the anti-rape culture card. Even if you catch the “bad guys” in the end.
Related Post: The Game of Thrones rape scene
Related Post: Strong female characters? No thanks.