I've ranted and raved against
Shonda Rhimes so many times over the past decade that at this juncture, its
hard to think if there's anything more to say about her. There are signs that
maybe her moment has passed - her last ABC series was a huge disappointment,
and ratings for her series have dropped so dramatically this past year, in a
way, its very telling that she's signed a deal with Netflix. But I think at
this point, its worth doing one more key reassessment of her characters before
they fade into obscurity.
Olivia Pope (Kerry Washington) on Scandal has always seemed so much of a
heroine to a certain group of viewers that its hard to understand why. She
basically goes around D.C., making it possible for the powerful in Washington
to keep getting away with the truly horrible things they do. Basically, she's
Ray Donavan with a better fashion sense. But over the past couple of years (and
I have basically avoiding watching the series over this time, so all of my
information is second hand), she seems to have reached a level of monstrosity
that I think even Raymond Reddington would find offensive.
In one memorable episode last year, she met
with the former Vice President who was recovering from a stroke (that she had
helped induce, by the way). Now, the previous year, he had let a plot to have
Olivia kidnapped and held hostage so he could effectively control the
President. It's understandable there'd be some bad blood, but I don't think
anyone expected her to beat him to death with a chair. In real time. Now, when
Tony Soprano did this in the 'College' episode, it was shocking because it
clearly established him as a villain. Other murders by lead characters have
done the same. But what it did was effectively make Olivia no different than
any of the other killers she spent the last four seasons covering up for. Yet,
somehow, there was no outcry. If anything, people thought she deserved it.
Now, I purposely avoided all of Scandal last year - I was going through
a kind of political withdrawal. But I know enough so that what I heard made
this sound meek by comparison. Olivia had spent the last three seasons trying
to bring down B613, the Consortium of Scandal.
She'd succeeding at doing it at the end of every season, yet it was revived
often the next episode. Never mind that. In the final episode, her father
arranged for an executive order have the agency shut down. In that same
episode, after arranging to have the vice president murdered (again), she
tricked the President into reactivating, and making her the head. So basically,
all those seasons where she tried to justify herself as the 'white hat' were just
a lie.
Maybe some fans of the series will
justify it by saying that this is what took to succeed in this D.C. But it just
seems like the slapdash, confused writing, going for a payoff at the end of
everything episode, seems to have hit a new kind of crazy. It's as if Rhimes
couldn't make up her mind whether she was the hero or not, and decided that now
she needed to be an antihero.
There's a similar problem with How To Get Away With Murder, which, as
I've mentioned in earlier articles, really is just a Damages ripoff. But, in a lot of ways, with each successive season,
it becomes more and more clear that Annalyse Keating should not be mentioned in
the same sentence as Patty Hewes. Viola Davis
is a great actress, I don't deny it, but no more than Kerry Washington, can she
do anything with the hand she's been dealt.
At this stage, the only positive
thing you can say about Annalyse is that she hasn't killed anybody yet. (But
it's only the fourth season,; there's still time.) But with each successive
season, she becomes more and more ruthless, and even more unfathomable. She may
be a criminal lawyer, but even the dirtiest attorneys on David E. Kelley's
series do not try to implicate their
clients or in some cases innocent people in murders that they know other people
have committed. Annalyse keeps saying that she's trying to protect the people
she works with, but that justification only carries her so far. Especially
considering in one case where one of her own clients was murder by her
colleague. Indeed, this may be the most remarkable accomplishment of Murder, you're actually rooting for the
forces of justice to lock Annalyse up.
And it gets worse! Annalyse's main justification for all her
actions over the last three years has been that she has been trying to protect
her students. In the first season, they were all joined in killing her husband,
who they believed was a killer, but had actually been innocent of the crime
they thought he was. And with each successive season they become colder and
more ruthless, knowing that Annalyse is never being truthful with them,
corrupting more people who get involved, and adding to a high body count.
Annalyse said at one point last season that she wanted her students to become
her. That's not something to aim for.
These are horrible people, without
even the redeeming value that most of the antiheroes (and for that matter, some
of the better anti-heroines) have for getting involved with the nightmares they
inflict. Yet Rhimes seem to imply that we should root for them - well, the
implication seems to be, because they're
black women, and the scales are against from them the start. I've seen strong African-American woman
characters - hell, there's more strength in a single episode of The Wire or Orange in the New Black about the real problems these women face than in an entire season of any
Shonda Rhimes' work. (Indeed, there's real shame that a great actress like Khandi Alexander, who
worked wonders in The Corner and Treme has to turn to a series like Scandal to get the recognition she
deserved decades ago.) There are ways to script African-American women. And
there are series that demonstrate you can show their darker impulses and give
them dimension. (American Crime, anyone?)
But if Rhimes really thinks that this is the only way to level the playing
field, maybe its a good thing she's leaving ABC for Netflix.
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