#i love how repressed she is. this is how wilson would behave if he and house ever had sex btw

[realbeefman]

the fact that chameron canonically fucked DURING A PATIENT PROCEDURE and when chase said “hey maybe we should. go out together in a normal way and stop having wild unrestrained sex all over the hospital” cameron essentially said “sorry i cant negotiate on that. its wild hospital sex or nothing. also it’s kind of cringe that u want to go out with me. not my fault we had awesome sex and u got emotionally attached. skill issue tbh.”

[verypersonalscreencaps]

An interview with Lesley Manville on World On Fire

BBC One | 24th September 2019

Lesley Manville plays Robina Chase in World On Fire.

What is it about Robina Chase that attracted you to the part? Robina is an upper middle-class woman who is widowed and is the epitome of the very posh end of Manchester. Her son Harry is her only child and he goes off to war - Robina’s story revolves around that. Harry’s father, we learn, committed suicide some time ago and she lives in a large country pile that’s a bit cold and soulless. I was drawn to play that class of woman because it’s not something I’ve had to do often before.

How do we see her evolve throughout the drama? There is something quite frozen about Robina at the beginning of the series and then you get to see this woman who melts a bit and comes to some level of understanding about herself and how she’s conducted her life. The fact that Robina is quite emotionally repressed and finds anything to do with love and being tactile quite a challenge says a lot about where she has come from. It’s partly to do with her background, partly the class she belongs to and partly her upbringing and the time period. She’s quite a closed door and nothing gets in - in fact you get the impression that nothing much has ever got in. In that respect she’s quite an interesting person to get your acting chops around.

How did you react when you first read the script? The first thing you look at when considering any part is the writing and if the writing and narrative are strong then it becomes a much easier decision to say yes and this script is wonderful. It’s beautifully written by Pete Bowker and the characters are all very specifically observed. I love the way the story dipped in and out of all these different lives. Yes of course there are the central characters, but it’s a real cocktail of stories about how this epic and tragic event affected different people in different parts of the world. It looks at what the war did to peoples’ lives on a big scale, on a very small scale and on a very personal scale. What it does to love, relationships and families.

How are we first introduced to Robina in the story? In the story we first meet Robina in her mansion, lonely, on her own. Harry has gone off to war and you get the impression that she’s not been the greatest mother in the world. It’s not that she’s an evil woman in any way, it’s just a muscle in her that she doesn’t quite know how to flex; how to be this person who gives warmth and love.

Harry comes back with Jan, a young Polish child, for her to take care of. She’s aghast - why on earth he would think she has any qualifications to look after a strange child who doesn’t speak her language is beyond her. Jan becomes a sort of challenge for her, and it's what I like about the way Peter’s written Robina: you can write her off as selfish, privileged with a blinkered view of the world - someone who only thinks upper class people are important - working-class people don’t really exist in her world - but she has a great sense of humour and is quite wicked and dry, which I liked a lot about her. The journey for her is that she discovers how to be a mother.

How does her relationship grow with Jan? In the 21st century that we live in families are not necessarily made up of biological members. Families now are about embracing children that are not your own; grandchildren that are not your own, but that was obviously not the case in the 1930s and 40s.

However, Robina actually embraces this young boy and very slowly finds herself attached to him. A whole set of feelings that she didn’t know she was capable of start to emerge and it’s very touching. You see the strange relationship she has with her own son, where, by her own admission, she’s been a terrible mother, but they have something that binds them together. They have a humour and archness with each other and sometimes that’s all it takes. Of course it’s not everything and it’s not nearly enough but it’s what binds them. I do love the way you see this woman who has been so bad at being a mother all her life begin to, through maturity, the war, loneliness, whatever find somewhere in her heart where she can open up a bit and give something to this foreign child.

What does Robina make of Harry’s choices in women? Robina thinks Harry’s choice in women is appalling, especially when you know her expectations for him are that he will marry an upper middle-class girl who knows which knives and forks to use; knows how to dress, knows how to speak properly and will be a credit to her husband.

Being in love doesn’t really matter to Robina. If he could only meet somebody who was presentable and could keep up the ridiculous game that she’s played all her life she would be reasonably pleased with that. She’s embarrassed about the manner of her husband’s death. To Robina it’s shameful and embarrassing and a good marriage for Harry would go some way to eradicating Robina’s embarrassment. However, with two women on the go, one a polish waitress (Kasia) and the other a cabaret singer (Lois), it is looking increasingly unlikely that her wish will come true.

Describe Robina’s relationship with Lois’ dad Douglas? Robina’s relationship with Douglas is at first a necessity because of the relationship between Harry and Douglas’ daughter, Lois. She thinks she can handle Douglas easily because he is a bus driver, but he disarms her with his candour and honesty. Given everything that’s happening in Robina’s world she actually opens up to Douglas and realises that he’s an intelligent man. She can see he has a tenderness and warmth that she envies in some way so we see this unusual friendship begin to develop.

Apart from when she’s with Harry we never see Robina with her own people, so it was quite tricky to get that right because there were no other upper-class characters to bounce off. But then one of the directors (Andy Wilson) gave me a great note which is that Robina is naturally upper-class because it’s in her DNA, so she would never think about how should she behave with a bus driver - she would just be Robina.

What was it like to work with Eryk, who plays the little refugee boy Jan? Eryk is quite an exceptional person, and not just as an actor but as a charming young man. He’s full of warmth and life and love and understanding and compassion. One of my early scenes with him was when she starts to see quite how vulnerable he is, how young he is and how far away from home he is. Eryk played it so brilliantly and I found him very easy to work with. It was also very easy for me to take what I felt about him as a young man and convert that to Robina’s growing sense of compassion and love for Jan.

Eryk’s instincts are quite exceptional for a young actor and there’s not a lot that you have to tell him, he understands it instinctively and you cannot teach that. You could send a child to drama school every Saturday school for ten years and they could learn all the techniques, but you could never teach a child that. He has an inherent understanding and he can tap into his heart and feelings and relay them to the actor he’s working with.

How does war change her? Robina’s perspective of the war is from a very cosy and safe position really. I mean obviously nobody was safe, but she is relatively cosy and safe. You could say she is experiencing the war through Jan, and strangely, she seems to care more about him than the fact her son is on the front line. You will see him arriving back and she’s there, waiting with a polite kiss on the cheek if anything, but there’s no kind of charged emotion at the thought of her child returning from war. Somewhere deep inside those feelings are there, it’s just that it was such a repressed time for her class.

[someone-im-close-to-fanfic-blog]

Chapter 1: The Curtain Rises

Wilson is being bothered by something, and tensions grow between the rest of the Don’t Starve cast as they try to figure out what it is.

Chapter rating: PG, occasional strong language and graphic descriptions of injuries.

Wilson's back and arms ached after a grueling day of working on his garden to test a new fertilizer he'd concocted a few nights ago. His hands were numb and red and covered in numerous injuries from both his work and taking a detour to tear some vines off the outside of the stone walls surrounding the plants, which happened to have rather large thorns growing on them. His legs felt like they'd been stung by a million killer bees all at once, and words couldn't describe how stiff his back was. The pain was excruciating. His legs wobbled like wet goop when he walked.

Unfortunately, even though his whole body felt like it was on fire, the stubbornly determined scientist continued his work, which was hammering away at new materials on the science machine now that the garden task was complete. With each swing of the hammer, swipe of a blade, or even the simple insertion of object into the machine, his body hurt a little bit worse, but the Brit paid his wounds no mind. He simply saw them as a minor distraction from what he really needed to do. See, there was something bugging him for the past few weeks. Everyone could see it, but no one could tell what it was. As a distraction, he began working more, not stopping even when the base was attacked by hounds and Wigfrid literally had to drag him in by his hair. When Wilson started going to bed early, Wickerbottom speculated he was becoming depressed, but didn't state much of a reason for it.

"Wilson's always been sort of...aloof, I guess." Wigfrid's red, curly braids bounced as she shook her head. She sat on a log by the fire pit, roasting a few morsels of meat over the fire. Her Icelandic accent was especially thick on the word "aloof". "Maybe this time is no different."

"What's that supposed to mean?" Wendy sat, cross-legged, next to Webber by the pit. She held a red rose in her hand and every so often she'd tear off a petal and throw it into the fire.

"He's always spendin' his time away from us, either working on some new project or getting materials for one of his new projects. He's obsessed. Maybe he's just really focused on this one." Wigfrid responded and took a bite out of one of the now fully cooked morsels.

"I'm not so sure about that." Wickerbottom pursed her lips. "Haven't you noticed how he's been so reckless lately? He works to the point of exhaustion on these so-called 'projects', and even then, he refuses to stop until he collapses. Last night I found him passed out just meters away from his tent, as if he didn't make it there before sleep got ahold of him. That boy..." She shook her head.

"Ma'am, he's not a boy. He's 35 years old. By now, Mr. Higgsbury is a man." Webber pointed out.

"Well, he certainly doesn't act like it." The old woman's voice had an edge to it. "I, personally, am a bit worried about him."

"So are we." Webber nodded in agreement. Wendy didn't speak but she appeared to agree with her friend.

Maxwell listened to them all eagerly from a distance. He was leaning against a tree, originally watching the girl and her friend throw a rose into the fire. For him, that was a very personal form of symbolism that lately had become rather appealing to him.

"I agree with Wickerbottom." His voice was deep like a bassoon and everyone's eyes fell to him as soon as he spoke. "Something is wrong with him, but I think we should leave him be until he reaches a critical condition."

"What kind of treatment is that?" Wickerbottom raised an eyebrow. "You're sadistic."

"Maybe I am." Maxwell shrugged. "Doesn't matter. If we let him slowly fall apart, eventually he'll come crawling to us for help, and it'll be easier for him to spill what's wrong." He shrugged.

"And how would you know?" Wigfrid asked slowly, an almost accusing tone slipping into her heavily accented voice.

"You know I used to be the high power of this island. I'm the reason, more or less, that he's here. I've monitored him long enough to see what happens when his sanity gets low enough." The tall man smirked. "Just save your efforts until he gets to that level. Then you can help. 'Till then, it's useless. He's stubborn as an ass. He won't tell you if you prod him with a killer bee on a stick."

"Why do you care, anyway?" Wigfrid glared over at Maxwell.

"Wigfrid, calm down." Wickerbottom chastised, but she was ignored.

Maxwell shrugged again. "I don't like to hear you all whine about something you can't fix is all."

Wigfrid rolled her eyes. "Makes sense. You know, sometimes I wonder if you can even feel for anyone anymore." She bit her lip and glared at the dapper half-demon. She was the last to arrive at this island and held the biggest grudge against Maxwell as of now.

Maxwell laughed bitterly. "Maybe and maybe not. It's not for you to know."

Everyone fell into an awkward silence after that. Webber and Wendy continued destroying their flowers in silence, Wigfrid ate her meat with a frustrated look on her face, and Wickerbottom kept busy with a new book she'd written the night before. That was how most nights went ever since; awkward and tense conversations between some members of the small society formed in this strange, new land while Wilson was away doing god knows what. Most nights he'd come stumbling into camp, bumping into the stone walls and passing out with a freshly lit torch still in his left hand. In the morning, before anyone could come find him to chastise him for being reckless and staying out late, he'd be long gone.

There was a reason for him not telling. This issue was personal to him, so much that he felt no one else could hear it. No matter how close he got with everyone else, he could never tell them, because he felt the secret would lose its value if they knew. Still, if he didn't tell, nothing could be done, but either way it wasn't fixable so he saw there was no point.

The scientist could tell his friends (and Maxwell) were on to him, though. One night, he came back to camp a bit earlier than usual and overheard a bit of conversation between Wickerbottom and Maxwell. He couldn't exactly see them except for their silhouettes through the leather outside of the tent, but he could tell from the way Wickerbottom moved her hands and her tense tone that she was feeling very worried.

"Maxwell, please. I've asked you over and over again for help on this."

"And I've been refusing your offer since you started asking. What's that tell you?"

"William Carter, you live here and I expect you to help out around here! This time is no exception!"

"Who died and left you in charge?" There was a cool, sarcastic tone in Maxwell's voice, and he was obviously amused that a woman much shorter than himself was trying to be the authority here.

"Well, no one, but still. Maxwell, please. No one else knows what to do because no one else has spent enough time with him as you!"

Maxwell held up a hand, which was just a blurry shadow in the point of view of Wilson.

"Technically, watching him from another plane of existence doesn't count as spending time with him."

"Listen, you know what I mean. You're the only person here who knows something about him other than how to identify him on an operating table. You know how he behaves and you know what he'd be most likely to do in a given situation. I know you don't like him but I want you to be the one to do this."

"I never said I didn't like him, and why me?"

"Because we all have our own problems to deal with!" Normally Wickerbottom repressed her Dutch accent well, but when she was feeling upset it sort of slipped out. "Wes can't talk so he can't help. Woodie and Wolfgang wouldn't know how to help, Webber and Wendy are just children and Wigfrid's still trying to get used to this damn place! So please, for the love of God, do something useful around here and try to help him out!"

That must have done the trick.

"Alright." Maxwell's voice had lost some of its coolness. "Fine. But get off my tail about it once it's done."

"Deal." Wickerbottom crossed her arms. "By the way, that wasn't a very gentlemanly thing of you to say."

Maxwell huffed. "That's not my concern. If you said that to Wilson, however, I'm sure that would take a good chunk out of his ego."

"Go to bed." Wickerbottom commanded and the two parted to each head to their separate tents. From then on, Wilson decided he'd spend enough time away from them for two reasons. One, he didn't want anyone figuring out what he was up to, and two, he wanted to spite Maxwell and keep him in trouble with Wickerbottom for as long as possible as sort of a payback for all the times he made him suffer.

Which brings us to the present. Dusk was setting in and Wilson knew he was screwed if he was left out here without anything to build a fire with. Quickly he grabbed some grass from the ground and plucked the twigs off a few saplings. With aching limbs, he crafted a torch and slipped it inside his backpack for safekeeping. He felt like he was being watched but brushed it off as low sanity. He looked down at his hands and saw they were bruised and red and forming blisters from a hard day's work. He spotted a stream not too far from where he was and stumbled over it, swerving to avoid a tree in his way. He went to kneel down but his knees wouldn't allow it, so he settled for sitting instead. He splashed cool water onto his hands and face, and his face and hair were soaked within minutes. Exhaustion set in shortly after, but the scientist tried to ignore it best he could. He leaned back against the tree, fighting to stay awake as he tried to enjoy this moment of relaxation best he could.

A few paces back stood Maxwell, hiding behind a tree. In a moment, he would step out and confront Wilson about why he had been acting so strange. He wanted to get Wickerbottom off his ass ASAP. That woman was seriously scary sometimes, even to him, though he'd never admit it.

That plan didn't work out so well. As soon as he stepped out from behind the tree, his foot crunched down on a sapling, scaring both of them so badly that Maxwell flinched hard and Wilson screamed.

"Who's there?!" Wilson produced a spear from his inventory and shakily held it up as he looked around.

"R-relax, pal, it's just me." Maxwell tried to keep the cool, steady tone of his voice, but it still wavered a bit.

"Oh, great." Wilson lowered the spear a little. "What do you want?"

Maxwell smiled, the initial shock of the sapling breaking having worn off. "Relax. I was just out gathering resources since our grass farms haven't replenished themselves yet. Fancy seeing you here. How long's it been since anyone saw you? Two, three days, maybe?"

"Four." Wilson put his spear back and looked down awkwardly. "It's been four days."

"What's the deal, pal? Are we all so unbearable that you've decided to run away? That's not smart, you know. We still don't know what all lurks in this strange, new world." Maxwell spread his arms out for emphasis.

"Nothing's wrong." Wilson rolled his eyes. "Besides, what the hell do you care, anyways?"

"I don't." Maxwell laughed cruelly. "It's everyone else who's worried, and I suppose as a sort of revenge for sending them here, they're making me check on you." He shrugged indifferently. "At least get up and show your face to the others so they know you're not dead."

Wilson refused, stubborn as ever, afraid that even one wrong move would make him spill his secret. "Absolutely not."

Maxwell frowned. "At least show me where you're staking out."

"I still stay at the base," Wilson argued. "I just come back late!"

"We've noticed. Care to explain?"

"Not to you." Wilson crossed his arms.

"Then to whom?" Maxwell inquired, raising his voice slightly.

"Nobody!" Wilson snapped. "...nobody can know."

"And why's that?" Maxwell raised an eyebrow. He didn't actually expect he'd get somewhere with this stubborn mule of a man.

Wilson was silent. That's when Maxwell noticed the several injuries on Wilson's body. He saw there were red marks on his face and bruises littering his arms and hands.

"What the hell kind of creature mauled you?" The dapper man raised both brows and pointed with a finger to Wilson's bruised appendages.

"Lack of self-care." Wilson smiled weakly and laughed.

"I can see that." Came the reply and without thinking, the taller man hoisted Wilson up and began to carry him back to the base.

"W-what are you doing?!" Wilson asked, panic creeping into his voice. "Put me down!"

"I'll do nothing of the sort." Maxwell pursed his lips. "Tonight, you're going to let Wes heal you and Wigfrid feed you. You don't have to tell us what's eating away at you, all right? I'll tell the others to lay off. But for now, at least get something good into your system. God knows you've been probably living off wild carrots and berries lately, right? I haven't noticed any food missing recently."

Wilson blushed with embarrassment. "I didn't think you'd notice."

"Well, you're thinner, too. That's part of it."

"You're awfully observant." Wilson commented. Maxwell didn't reply. The two traveled together in awkward silence and Wilson closed his eyes, sleep taking over him. He felt himself being dropped cruelly on the ground and heard footsteps running closer and shouting, but was too tired to care. All he heard was the sound of a feminine voice requesting healing salves and he was out cold.

[raceandspeculation]

AKA You’re a Victim

Kayla Wilson ENG 3690 Prof. Smalls 4/7/17    

           “Jessica Jones, you’re a hard drinking, short fused, mess of a woman but you are not a piece of shit” (Jessica Jones, AKA You’re a Winner). It isn’t until the sixth episode of the Marvel and Netflix series Jessica Jones that Luke Cage, the bulking hero who can deflect bullets with his skin, utters that line. The gritty comic show was the second to air on the Netflix platform and it seemed as if Jessica Jones held no punches when it came to fleshing out all of the woes and problems of its leading lady. At the center of the superhero show stood Jessica Jones herself, a woman who had been victimized and mind controlled for an entire year before she broke free to become an alcoholic private investigator. As the thirteen episodes explored Jones’ mental trauma and the damage that the antagonist, Kilgrave, had done to her it was made explicitly clear that Jessica was a victim and incredibly damaged because of it. That fact cannot be denied. Even though her status of a victim holds true, Jones herself ends up behaving in a problematic fashion and in turn makes a victim of another. Yes, Jessica Jones is a mess and that is never a secret. In fact, the series was praised for the way that it handled sensitive topic matters such as rape, addiction and post-traumatic stress disorder. Jessica’s behavior towards her love interest and fellow superhuman Luke Cage, however, is far less discussed. Through comparing the characters of Jessica Jones, Luke Cage, Hope Shlottman and Malcolm Ducasse in the sixth episode, “AKA You’re a Winner” it soon becomes clear that victims come in various shapes and forms and even one who is a victim themselves can be the perpetrator in harming another.

              Jessica Jones has been clearly defined as a victim by the time the events of “AKA You’re a Winner” roll around. She bluntly states that she’s a fan of repression instead of speaking out and encourages a friend to go to a support group while looking down on it herself. Slight, incredibly fair skinned and with a perpetual pout on her face, Jessica looks like the kind of victim that you would imagine. There is little life in her eyes and as she sits clutching a bottle at the end of the episode and desolately repeats a mantra to herself it is clear that life has not been kind. Her negative outlook and snarky comments are a part of a shell that she has fully formed around herself. At this point in the series she has developed to the point where she’s somewhat working with others and not just working to get to the bottom of the bottle, and Variety’s chief television critic Maureen Ryan praised that in her review of the series. “One could argue that this Jessica is a bit of an antihero,” Ryan writes. “She makes bad decisions, keeps secrets and isn’t especially responsible. [...] The character’s mistakes and scars end up being as compelling as her halting attempts to do good and right wrongs. Jessica is damaged, but her refusal to let that damage define her gives the series a core of captivating energy” (Ryan).  Praise for the writing and Jessica Jones was mainly centered on her ability to move past the damage that shattered her life, but Jessica unwittingly begins using her victim excuse in the show to defend her poor actions. In “AKA You’re a Winner” she snidely comments that she’s rude to everyone and her attempts to help Luke Cage are actually to make up for the pain that she’s caused him, not out of the goodness of her heart. Her lies and inability to let people in are clearly on display and make her independent and tragically flawed. Jessica is a victim, yes, but her attempts at moving past that are problematic and instead cause others damage. Her victim status is cemented in the fact that she was raped and manipulated. She is the one of the clearest examples of a victim on the show, but the past actions that have been done against her do not stop her from hurting others as well.

           Following in the vein of the beautiful and tragic female that has been damaged, “AKA You’re a Winner” shows fellow Kilgrave victim and prisoner Hope Shlottman terminating a pregnancy from her rape. Laying in her hospital bed with a beaten face, it’s an emotionally compelling scene as Hope tells Jessica that “Every second it’s there I get raped again and again. Every second it’s there my parents get shot again and again” (AKA You’re a Winner). Her mind-controlled act of killing her parents was not her fault. Hope was just as much as victim as the deceased Mr. and Mrs. Shlottman even though she was the one holding a gun. In “WATCHING RAPE: Film and Television in Postfeminist Culture”, Sarah Projansky discusses rape in television and cinema and how it plays into post feminism. Leslie Kern analyzed her work and wrote that:

“Projansky argues that one of the most dangerous elements of postfeminism is its ignorance on issues of race, class, sexuality and ability. Throughout the book, Projansky is relentless in her critique of rape narratives as discursive strategies for naturalizing notions of class, race, gender, sexuality and nation. While her research shows that there is versatility in terms of the roles played by differently racialized characters (for example, villains might be either white or black), Projansky illustrates that racial categories in particular have been portrayed as fixed categories (Resources for Feminist Research).”

Hope as a white female has been abused, yes, and her story parallels Jessica. She terminates the pregnancy within the episode and makes it clear that one-day she will have children that will not be Kilgrave’s. On the other hand, another leading player of the episode is ex-addict and African American man Malcolm Ducasse. It is inherently known that Hope’s actions were not her own and she was not to blame. Even though Malcolm, however, had been coerced into drugs his actions are not regarded the same way as Hope’s are. “It’s a question of who I am.” Malcolm tells his support group. “He turned me into a liar, an addict, a thief. I don’t know if it was in me from the beginning or if it is a part of who I am now?” (AKA You’re a Winner). While Hope is never asked if she was a killer by nature and Kilgrave just woke it up in her, Malcolm takes his life and history and consideration and wonders if he was always meant to be the person Kilgrave made him even though he had once been clean with a life and no interest in drugs. Hope and Jessica’s status as white women give them a kind of privilege despite their actions, something that the other victims on the show are not granted.

       Being bulletproof does not make you invincible. It also does not make you impervious to vulnerability of being harmed. By the time the sixth episode of Jessica Jones rolls around it is quite clear that the leading male protagonist, Luke Cage, is pretty close to being invincible. His skin can literally deflect bullets and the artistically played holes; tears and smudges of soot and blood over his unharmed skin make a visual statement that it is nearly impossible to take Cage down. Standing next to the drunken, cussing Jones Cage does look more like a hero than the leading lady. Despite his credo to protect only what is his, he makes a point to show that he keeps his words and follows the law. When the impatient and gruff Jessica is ready to get into a fight with thugs on the street, Luke steps in and stops it. As a white woman she has a layer of privilege and could get away with that sort of behavior but Luke reflects on his status as a black man and what that means and reminds her that there are cops and laws to consider. In every way Luke seems to be the antithesis to Jessica. Despite them both having powers and being incredibly strong they are vastly different people and that at times overshadows their similarities. As quoted above, Luke makes a point in “AKA You’re a Winner” to tell Jessica that she is not a piece of shit as her mind controlled actions were not her own, even though Cage does not know the extent of them. That all changes, however, when Luke realizes that Jessica was the one to kill his wife while under Kilgrave’s control. The truth only comes out when Luke is about to kill a man that he believed killed his wife and Jessica tearfully admits it was she who committed the crime. Here we see Luke, who was portrayed as being so strong, as a victim himself. He was the victim of lies and deceit, of trusting a woman who could not be honest with him. Luke’s critique on Jessica is then about her dishonesty, not if she was truly a killer without the influence of Kilgrave. He gave the following monologue to Jessica, retracting her words from earlier in the episode:

“You slept with me. You made me think I could get past it. Did Kilgrave force you to do that? You let me be inside you. You touched me with the same hands that killed my wife while you knew. If I never found about Charles, would you have ever told me the truth? I was wrong. You are a piece of shit” (AKA You’re a Winner).

With that, Jessica Jones showed how a victim could be created from a situation that was not explicit rape. Jessica did not mind control Luke, but she did manipulate him into sex even though she claimed it was never supposed to happen. It is far easier to point out Jessica as a victim than Luke by appearance and background, but both can be placed in the same category at different degrees. Her dishonesty led to pain for Luke and a fracturing of the relationship that they were building as lovers and friends. Her victim status did not prevent her from acting in an unacceptable way, and the realism from the situation shows just how messy lines can become.

           Through reflecting on the four characters in the episode, it becomes clear that a victim is not defined by their past, skin color or gender. Even someone who has been victimized can in turn put someone else in the position they were in and hurt others. Past troubles do not excuse problematic actions in the present. Jessica’s damaged persona led to her shutting out and deceiving someone in an intimate matter and worsened the situation tenfold. The erroneous flaws of the shows leading character made Jessica Jones a thought provoking and deeper look at the mental trauma that one can experience, and when that all came to a head in “AKA You’re a Winner” it provided accurate examples of how anyone can victim regardless of status.

WORD COUNT: 1850

                                                              WORKS CITED:

Ryan, Maureen. "TV Review: ‘Marvel’s Jessica Jones’ Variety. 15 Nov. 2015 http://variety.com/2015/tv/reviews/jessica-jones-review-krysten-ritter-netflix-1201636528/. Accessed 4 Apr 2017.

“AKA You’re a Winner.” Jessica Jones, season 1, episode 6, Marvel, 20 Nov. 2015. Netflix, (https://www.netflix.com/watch/80002317?trackId=200257859)

Projansky, Sarah, and Leslie Kern. "WATCHING RAPE: Film and Television in Postfeminist Culture." Resources for Feminist Research 31.1 (2004): 54-6. ProQuest. Web. 7 Apr. 2017.