#like come on. not to mention how Malcolm is genuinely Ainsley’s parent

[crownofbegonias]

is there any other way to further cement malcolm bright’s eldest daughter syndrome than to genderbend him? i think not

[themachiavellianpig]

“I’m Telling My Story”: Ainsley Whitly, The Prodigal Daughter

Throughout the first half of season one, we can see a great deal of how Martin Whitly’s actions affected his wife and son, both of whom are still actively struggling with the guilt of having been in some way intimate with such a man. Ainsley, in contrast, seems relatively unaffected by the situation and even describes herself as “lucky” in comparison to her brother- she is at least five years younger than Malcolm and seems to remember little of her father, giving her a significant emotional disconnection from his crimes. In direct contrast to her brother, she can hold down a steady job, engage in close relationships, and doesn’t appear to be in any kind of therapy. Unlike her mother, she isn’t even shown to be self-medicating in any way - she simply does not seem to need such coping methods. 

This relative stability is a gift, one for which Jessica explicitly gives herself credit: “Do you sleep at night? ...When you close your eyes, do you find peace? That peace is because of the choices I made. You can thank me any time you like.”  (1x03)

And it’s a gift which, arguably, Ainsley squanders over the course of the first half of season 1. 

“I don’t remember my dad. I was forbidden.” In the first ten episodes of Prodigal Son, we get to see some of the time immediately before and after Martin’s arrest, all from either Malcolm’s or Jessica’s point of view. We see nothing at all of Ainsley, except for a brief shot of her being held by her mother during Martin’s arrest. Given that Ainsley was only five years old at the time, this is admittedly unsurprising. Her memories of that time, so far as we know, are limited to Malcolm’s reassurances (“I was only five when Dad was arrested, I don’t really remember it. But I remember you. Telling me everything was going to be okay when you knew it wasn’t.”, 1x01). 

But she would certainly remember what happened afterwards, in the twenty years between Martin’s arrest and the first episode of Prodigal Son. We do not know exactly how Malcolm and Ainsley grew up following Martin’s arrest, but we can make certain deductions. 

Malcolm, as the person who discovered Martin’s true identity, as the one who was clearly and obviously traumatised by the discovery, would likely have been the focus of Jessica’s attention - in the same way that any child in crisis would be. Jessica’s active concern for Malcolm continues into the present day, clearly signposted in the first episode: Malcolm: “I assume you don’t break into Ainsley’s place like this.” Jessica: “God, no! She’s perfect. You’re my only concern.”

Additionally, we know that Martin Whitly, perfectly understandably, becomes something of a ghost in his former home. All reminders of him are packed away - there are no photos of him, his private study in the basement is walled up and forgotten, leading Malcolm to hide certain reminders of happier times in a shoebox under his bed. We don’t know exactly how Jessica navigates this particular transition from well-to-do nuclear family to tabloid fodder - how she told Ainsley the truth about her father or, quite frankly, if she ever did explicitly. Did Martin become something which simply was not spoken of in polite company, or indeed any company at all? 

Ainsley’s choice of words in 1x03 (“I was forbidden”) suggests a harsher line than simple silence, potentially indicating that questions about Martin were not only frowned upon but actively discouraged. Martin Whitly, loving father, was gone for good; the Surgeon was all that remained, and the Surgeon was not to be discussed. As early as 1x03, Ainsley even says that she has no idea what being back in contact with Martin will do to her brother’s mental health because she has no knowledge of who or what Martin Whitly really is. 

Just like Malcolm and Jessica, Ainsley seems to be struggling with having a connection to a monster. Regardless of the fact that she doesn’t remember having a familial relationship with Martin, he is her biological father - and if her mother and brother can’t give her the answers that she needs about him, she’s going to go straight to the source instead. 

“Martin Whitly is your biggest fan.” Ainsley’s decision to meet with Martin in episode four is prompted, I would argue, by a combination of curiosity and, let’s be fair, the sort of spite that springs up when a controlling parent tells you not to do something - after all, she only goes to visit Martin after both her mother and her brother have done the same thing, all while maintaining that nobody should ever go and speak to the Surgeon. But I find it very interesting that she only makes the decision to visit him after her mother lets slip a brand new piece of information: 

Ainsley: Thanks to both of you, he doesn’t even know I exist.  Jessica: He knows all about you. He watches you every day. He daughter, the ace reporter. Martin Whitly is your biggest fan. 

This information, it should be noted, is only news to Ainsley. We, the audience, see Martin watching one of Ainsley’s broadcasts in 1x02; in episode 1x03, he asks Malcolm to “Please tell your sister that her diction is impeccable!” and, in the same episode, he compliments Jessica on her excellent childrearing (“You did well, Jessica. I am so proud of him, and of Ainsley, and of you, for raising our beautiful children.”). 

And, from my perspective, this information is also profoundly creepy. A convicted serial killer obsessively watches all of a homicide journalist’s broadcasts? That’s a two-parter of Criminal Minds right there. 

But to Ainsley it’s a link, a connection, to a part of her life which she has never really been allowed to engage with. The trauma of Martin Whitly is written large on her mother and brother, but her trauma is second-hand and reactionary, which is admittedly a great improvement on the alternative, but would Ainsley see it that way? All children want to do is feel like they belong, and being the one left out - even the one left out of trauma - is never pleasant. 

Now, through an offhand comment from her mother, Ainsley knows that her father is interested in her, and in her work - in direct contrast to her mother, who supports her work idly, never really watching her reports (“Not with the sound on!”, 1x01), who finally starts to tell her something real about her father and his opinion of her and then immediately tries to shut the conversation down (“Can we please talk about something else?”, 1x04).

And so Ainsley heads off to see her father for the first time in twenty years. 

“You made him out to be just a monster.” We, the audience, had a full two weeks to wait between seeing Ainsley in Martin’s cell and hearing anything of the conversation that they shared, which was genuinely one of the most infuriating cliff-hangers I’ve seen for a while. 

The meeting with Martin undoubtedly rattles Ainsley, albeit not in the way she expected. As Jessica points out, Ainsley went to that cell to meet a monster, and instead found a seemingly loving father (1x06). A man who regretted his absences in his daughter’s life and had filled the gaps with daydreams of “birthdays, piano recitals, dancing with [her] at the debutante ball” (1x06), daydreams in which, judging by the fantasies shared with Ainsley, he plays the starring role of Devoted Father. This conversation could have been repeated between any father-daughter duo separated in television plotlines around the world - the cause of that separation is so overlooked by Martin’s little fantasy to be actually hilarious. 

And, by this point in the series, we’ve seen both Malcolm and Jessica be taken in by Martin’s acts, not to mention all the people that Martin had fooled during his days as an active serial killer, so it’s hardly surprising that Ainsley is at least a little taken in as well. The split between Martin-the-father and Martin-the-serial-killer is also one that has preoccupied Jessica and Malcolm throughout the twenty-years and it’s one that Ainsley, through her lack of memories about Martin, has been spared up until the moment she comes face to face with him, and asks him the “most important question”: ” “Was it real? … Did you love us or was it just some psychopathic act?”

The surviving members of the Whitly family may never really know the answer to that question - and it’s a question which has no easy answers. Which would truly be worse - being an unwilling cover story for a monster, or genuinely being loved by a monster? 

But, for Ainsley, the question is no longer about what her relationship with Martin was; it’s about what it could be - or, more precisely, about what it could do for her.   

“Ambition is not a dirty word.”  The decision to interview Martin is one which, full disclosure, makes perfect sense from a professional point of view; an interview with a notorious serial killer, particularly one who had never spoken publicly about his crimes before, would be a feather in the cap of any crime journalist. She is also arguably the best choice to conduct such an interview from a creepy mercenary perspective - her familial relationship to the Surgeon gives the interview a sensationalist angle which would be impossible for any other network to easily duplicate - and, unlike the rest of her family, Ainsley has not yet been traumatised by Martin Whitly. 

Of course, it's the ‘yet' in that last sentence that has Jessica and Malcolm so worried about Ainsley - her visiting Martin might be less immediately damaging that Malcolm or Jessica coming face to face with their own personal demon, but it's still very unlikely to be healthy. 

Interestingly, Malcolm's concerns about the interview seem to be extremely focused on Ainsley's immediate personal safety ("You’re putting yourself in his cross hairs"), and his reaction on learning that she's already seen Martin is to ask if she is okay. Jessica, as the only member of the family who really remembers the immediate media aftermath of Martin's arrest, becomes far more focused on the potential PR concerns: 

Jessica: Ainsley, if you do not have a plan to make him look bad, he will look good. Tell me you understand. Ainsley: Mother, these are the questions I sent. Not the questions I’m going to ask.  Jessica: Alright. I see what you’re doing.  Ainsley: Good. Can you stop worrying?  Jessica: I am far more worried now.  Ainsley: What? Why?  Jessica: Thinking you are more clever than Martin Whitley, that’s the worst mistake you can make. He’ll exploit that. He’ll find a way to come off sympathetic and you will be sitting there like-  Ainsley: Like what?  Jessica: His accomplice. 

Jessica, as we learn later in the season, was herself questioned by the police about her role in Martin's crimes, and I am sure that the media speculation around the Wife of the Surgeon would have been horrific and heartbreaking. She clearly does not want Ainsley to put herself through the same thing - and she certainly does not want Martin to have any opportunity to manipulate the wider population, as he has so easily manipulated his own family in the past. 

This is not to say that Jessica has no concern for Ainsley's safety - her immediate reaction to the potential interview is to get the entire thing blacklisted by the network itself. It's only when Ainsley reveals a willingness to outplay her mother at that particular chess game that she relents - not to give her blessing, but to step back and allow Ainsley the dignity of her own choices. 

And, potentially, Ainsley does take some of her mother's fears seriously - she insists on keeping Martin in his restraints during the interview, despite technical concerns from Jin the Cameraman, and she makes sure that the red safety line on the cell floor is in shot. She even refuses Hair and Makeup the chance to make Martin look anymore physically presentable before the interview begins.  

The interview itself, however, does not go exactly as Ainsley had clearly wanted it to - first, Martin neatly sidesteps her attempts to throw past crimes in his face, then her brother interrupts with police business, then her cameraman gets stabbed. All in all, hardly a good day at the office.

The interplay between Martin and Ainsley hashes out the timeless question of what really makes a person - Ainsley focuses on the lives her took, complete with grisly details ("Billy Franklin, age 23. Aced his LSATs, wanted to become a civil rights lawyer. You removed his heart to see how long he could live without it. He died a gruesome, agonising death. My question is why?", 1x07), Martin fights backs with the lives he saved ("How about Corey Goldstein, age 10? A brutal car accident left him with a surely fatal aortic rupture. Until he landed in my OR, where I saved his life.") and the medical procedures he developed ("Did you know they named a medical procedure after me? ...I’ve heard a rumour that doctors still call it the Whitley, in hospitals all around the world", 1x07). 

It's a far more complicated portrayal of evil that Ainsley had prepared for - she has no good response prepared for the accusation that Martin did some good in the world, unlike her pithy retorts about particular victims and what Martin did to them. We don't get the chance to see if Ainsley would have been able to retake control of the interview, given Malcolm's interruption, as his arrival gives Ainsley a very different line of attack - the only line of attack, it must be said, that ever seems to really rattle Martin. Ainsley is the only character in the first part of season 1 to really get under Martin's skin - but she can only do it by using her own brother as bait: 

Ainsley: So. I mentioned a number of your victims earlier, but I’d like to discuss one more. Malcolm. Malcolm Whitly.  Martin: I’m not sure I understand Ainsley: You claim to care about your son, but what you did twenty years ago harmed him irreparably.  Martin: Well, that’s not true.  Ainsley: Isn’t it? He’s been diagnosed with complex PTSD, generalised anxiety disorder, night terrors. Dr Whitley, do you know what happens to the human body when it withstands that much stress for that long a period of time?  Martin: I’m not sure that’s relevant-  Ainsley: He was fired from the only job he was ever good at. He hasn’t been in a stable relationship for years. And the ten years he went without seeing you were by far the happiest, healthiest of his life.  Martin: Well, that’s absolutely not- Ainsley: What does that say about you, except for you’re an absolutely terrible father?  Martin: I’m not.  Ainsley: He just wanted to love you. And you caused him so much pain.  Martin: Stop it.  Ainsley: What kind of a father does that?  Martin: Stop it! I was a good father, damn it! 

This interaction goes on to form a crucial part of the interview - Martin's loss of control is featured in the introduction to the actual broadcast (as seen in 1x10) - and it was not at all discussed with Malcolm beforehand. We, the audience, are not entirely clear on how much information Martin had about his son's condition prior to Ainsley’s disclosure- he would have known some things, noticed symptoms such as the hand tremor, but that is still potentially miles away from Malcolm's having his mental health history spelt out like that in front of Martin and, potentially, in front of everyone who watched Ainsley's interview. 

It's a successful and potentially satisfying manipulation of Martin, to be sure, but it's also a heart-wrenching violation of Malcolm, and Ainsley never seems to notice. 

In a matter of hours, Ainsley double-downs on the notion of violating the privacy of others when she films Martin perform surgery on Jin the Cameraman, stabbed in the patient-uprising which Martin himself engineered. We never get to see Malcolm's reaction to his violation - he doesn't seem to challenge Ainsley on it directly in any way - but Jin does (1x08). Jin, when he wakes in the hospital to find that Ainsley filmed the surgery and didn't tell him about it, has a very simple and understandably reaction. 

Jin: What is this? You filmed my surgery? Ainsley: I was going to tell you. I just- I- I- I got so caught up in the adrenaline and it was so compelling- Jin: Oh, was it? Was it compelling when I almost died?  Ainsley: We went there to get a great story and we got one. I was doing my job!  Jin: I understand. This is who you are. I just don’t think that’s the kind of person that I want to be with. 

And Ainsley doesn’t try to apologise to her boyfriend, or try to explain herself any further - she leaves Jin in the hospital, taking the interview footage with her instead. 

“I’m telling my story!” The interview, despite the various dramas around it all, is eventually broadcast. Thanks to Jessica’s well-thrown shoe (seriously), we never get to see the interview in its entirety (which is a great shame, seeing as we only see Ainsley get a few minutes of usable footage in 1x07), but we do get to see the introduction: “Dr Martin Whitley murdered 23 people as the Surgeon, making him one of the world’s most deadly serial killers. I’m Ainsley Whitley for American Direct News and the Surgeon is my father.” 

The clips that we see include Martin's lose of control at being called a terrible father, which strongly implies that at least some of the section concerning Malcolm was kept in; we have no idea if the footage of Jin was used, although I'm assuming that he would have had to give permission for his own surgery to be shown on national television and, given his reaction in the hospital to the footage, I'm equally comfortable assuming that he would not have given such permission. 

While Malcolm tries to watch the interview, possibly to support his sister, possibly to torture himself futher, Jessica is adament that she will not. Her initial plan seems to have been to pretend that it never happened; she only speaks to Ainsley about it when Ainsley pushes past her joking “no comment” to challenge Jessica on her perceived lack of support for her daughter's professional accomplishment. 

This pushes Jessica to have perhaps the most genuine and honest conversation with her daughter about Martin and their past which they had ever had (1x10):  Jessica: Your father destroyed us. Your brother and me. You put him on television and let him talk about it. You have gone and soaked yourself in blood. The press devoured us twenty years ago, and now they are at it again.

This information is given calmly, perhaps even dispassionately: for Jessica, the destruction of herself and her son is a simple matter of fact. Not to be spoken of, of course, but ever-present and utterly undeniable. She does not even become angry until Ainsley accuses her of "playing the victim": "I am not a victim! But there are victims. Real ones. How do you think those twenty-three families feel when they see you on television? And why is the story never about them?"

The story is not about them, of course, because for Ainsley, the story is currently about her. Ainsley's newfound 'ownership' over the Surgeon story is clearly spelled out in the interview's introduction ("the Surgeon is my father"), her reaction to the paparazzi outside her mother's home ("Any breaking news about my family is mine to report") and, finally, in her retort to Jessica's challenges over the entire interview: "I'm telling my story!"

But, as we've discussed earlier, Ainsley doesn't actually have a story with the Surgeon. In the real-crime biography of Martin Whitley, she's a footnote at best. Jessica, who married a monster, Malcolm, who unveiled a monster, the twenty-three or more people who died at the Surgeon's hands, the hundreds of people, including Jin, who had their lives saved by the Surgeon, they all have a story with the Surgeon. Ainsley simply does not. And in her attempts to create one during the first half of season 1, she only really gets anywhere when she uses the stories of others - her casual retelling of the horrific things the victims went through, her reveal of Malcolm's mental health diagnoses, her filming Jin's surgery.

Ainsley’s lack of personal connection to the Surgeon was her greatest asset in a very broken family at the beginning of the series; her attempt to create such a narrative when none organically existed has been the cause of pain for plenty of people other than herself. 

All that remains to be seen is how this narrative - either genuine or manufactured - continues to develop in the second half of season 1.