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good-to-drive · 2 months ago

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Abuse, Silence, And Why Kevin Can Fuck Himself

I recently finished watching Kevin Can Fuck Himself on Netflix, and, aside from being the most brutally honest portrayal of domestic abuse I have ever seen, I discovered a beautifully written examination of narrative as power and silence as abuse and how this manifests in our larger culture.

Without going into too much detail, the show is filmed in two distinct styles that are interleaved throughout each episode to tell a cohesive story. Allison and Kevin’s relationship as seen by the rest of the world is told through a multi-cam, laugh-track sitcom that depicts a very typical “goofy husband, shrewish wife” mainstream comedy. Allison’s life through her own eyes is told through a single-cam drama/thriller about Allison planning to murder Kevin to escape his abuse.

It’s an absolute masterclass in screenwriting, but more than that, every episode explores the difference between truth, fact, and reality, and how none of these things are quite as much or as little as story. But while the process of transforming the chaotic and plotless reality of life into a story is as involuntary and essential as breathing, misogyny and the degradation of women is just as ubiquitous in our society, and a story that exists at the expense of another person’s lived reality is a refutation of their humanity.

It's also just a great show for anyone who likes to engage with history (or reality TV or true crime or “real life stories” in general), because while we have to tell ourselves stories about her own lives, we have to tell ourselves stories about other people as well. Eternal silence is narrative death, and the perpetual silence of an unspoken narrative is often the last death we can visit on someone whose story we’d rather ignore.

I also pulled up some books – Lolita and Disgrace – that dealt with similar themes, but from the perspective of the abuser. And what strikes me the most is that, across three beautifully written stories about narrative and silence within a culture that normalizes abuse, Allison, who began her story within a state of narrative death, was the only point-of-view character who had any chance of surviving.

One of the main themes of Kevin is that a compelling story is often a story that reinforces what we already believe or like to believe, and while the story may be factual and true it often also exists at the expense of someone's lived reality. The exact same series of events can be a silly joke or a harrowing tale of abuse depending on the lens through which we view it, but historically we've only been willing to see the multicam, laugh track, sitcom perspective on unbalanced relationships.

The alchemical process of turning a series of disjoint facts and experiences into a narrative creates something new and compelling, and erases much of what previously existed. In this way, it’s entirely irreversible. We spin our experiences into a very thin thread, a story we can tell ourselves that elicits something within us, something we need in order to live with the complex, uncertain, and unsatisfying reality of life. In think in many ways the thing we elicit in ourselves is truth. But truth is both more and less than fact, often more a reflection of our own beliefs and desires than the events of our lives. And in telling that truth we may never stray from the facts, but we almost by definition cannot give voice to another person’s reality.

There's a scene in season 2 of Kevin when Allison is hit by a door – a la the classic excuse – because of Kevin’s carelessness. And while he absolutely did not hit her, the way it's written is such an incredible allegory for how Kevin has curated their story and curated their friends' and family’s perceptions of their story such that even if she tells everyone the exact, unvarnished truth of what's happening to her and begs for help, they will only be capable of seeing the laugh-track, sitcom, “Kevin is a harmless goofball and his wife is a total shrew” perspective on the events of their lives.

As so often happens with abuse, their friends and family saw Allison being hurt because of Kevin. But the alchemy of creating a narrative around Kevin and Allison is irreversible, and the series of events they witness can only be spun together to a joke, an accident, a silly, childish mistake. Allison’s reality, Allison’s pain and fear, is completely elided. Like a lost sound in the middle of a sentence, her experience goes silent, and their larger understanding of her relationship never has to change. And you feel so acutely how Allison lives her entire life in that silence.

Storytelling is human, it’s essential, there’s no other way to engage with our own lives. And it’s not lying. It’s never lying to tell the truth. But it doesn’t reflect every reality, either, because another person’s reality can’t be reflected within our own narrative, because that’s what it means to be another person. To spin two different threads.

And because narrative is the essential process by which we understand our reality, denying someone their own narrative, or denying that this narrative be heard, is inherently abusive. To allow someone a voice is to give them humanity, and to suppress it is to strip that humanity away.

Disgrace, by J.M. Coetzee, follows the story of a professor, David, who rapes a student and then fails to protect his daughter, Lucy, from being raped by intruders in their home. He destroys his daughter’s life – not through failing to protect her, but through twisting her rape into a story about why the rape of his student wasn’t wrong. The main theme of the book is generally considered to be exploitation, but Coetzee doesn’t deal with the exploitation of the rape. That’s too direct, too immediate, too easy for the reader to understand as misogynistic and wrong. Rather, Coetzee delves into “the innocuous-seeming use of another person to fill one's gentler emotional needs” (Ruden).

The rape is how we understand David as a fundamentally exploitative person, a person who denies others their humanity by converting them into a vessel for his own desires, who erases their voice in order to speak through them and give himself the things he needs. And that’s how we recognize that the way he absorbs and claims the stories of his daughter and his student is another kind of violation of their humanity. Another way of turning women into vessels for men’s pain and fear and need.

What’s fascinating is that David's student finds her voice – files a complaint against him – and is eventually able to continue with her life. The woman he raped is less damaged by him than his own daughter, because she was the woman he couldn’t permanently silence.

In Lolita, another brilliant novel about abuse, dehumanization, and storytelling, Humbert turns to the reader at the end and says, “Imagine us, reader, for we don’t really exist if you don’t.”

It’s not that Humbert knew he was fictional, but that he knew everyone was fictional. Believed the entire world only truly existed in his own mind, because anything beyond that was irrelevant to his needs. He coped with the collapse of his ability to dehumanize Dolores (who he called Lolita) by demanding that his voice be resurrected. Demanding immortality. Demanding his narrative exist in another person’s world, and thereby be given the existence and humanity that Allison and Dolores and Lucy and David’s student were denied.

Pushing his needs, finally, onto the reader, because we are the only person he has left, and a person like him can only exist through the use of another. In that way, Humbert was powerless. In that way, Kevin and David were powerless, too.

In Disgrace, David’s dream is to write an opera, and at the end of the book he realizes he’ll never finish his magnum opus. He’ll never be able to terminate the process of converting himself, his world, into a story. But he does learn to decenter himself in that narrative. And it’s when he loses all fear of death, and any conception of the self, that he gains the ability to give dogs – who he generally equates to women – a voice within his opera, his life’s work.

It’s in death that we discover our true unimportance as human beings, that we learn to let go of vanity and our conception of the self entirely. And David had degraded women so thoroughly in order to justify how he used them to meet his own emotional needs that it was only in losing all value for his own life that he could gain the ability to see them as equal voices. To actually put those voices into his own life story. It's at the cost of himself that he allows other people to truly exist, in the death of the self that he finally allows the world to exist outside of himself. It’s almost a positive character arc. Almost.

When Kevin finally loses the ability to abuse Allison, he, like many abusers, loses all desire to live. His world was built on a structure of superiority and inferiority, on beings and vessels, on the inherent value of men and the inherent meaninglessness of women’s lives. The system on which he based his entire reality has been destroyed by Allison’s declaration of the self. And, if he was a being because she was a vessel, then in losing the ability to treat her as a vessel, to fully and completely dehumanize her, he has lost his own humanity.

It may be perfectly summed up here: “Become major. Live like a hero. That's what the classics teach us. Be a main character. Otherwise, what is life for?” (Coetzee).

If you’re not to be a main character, if there indeed is no split between major and minor characters, between people and the paper dolls that populate their story, between living beings and the vessels into which they pour their need – what is life for?

Nothing. At least, not for people whose narrative must exist at the expense of another.

And that’s why I say that only a narrator like Allison could survive this kind of story. Despite beginning her story trapped in eternal silence, her reality fully elided no matter how immediate and obvious it became, Allison was the only point-of-view character of any of these three stories who didn’t establish her power through the degradation of another. Who didn’t conceptualize the world via being and vessels. Whose narrative didn’t exist, by necessity, at the expense of another person’s humanity. Whose thread could exist in a larger tapestry without destroying her sense of self.

Don’t get me wrong, she’s not generally a likable character. She’s misogynistic, cruel, selfish, jealous, desperate, afraid, and in pain. Like anyone in an abusive relationship, she’s not at her best, and she’s often pushed to do things that are ugly and disturbing because she’s simply been pushed too far.

But, for me, the power in her character is in how her last scene never felt like a final scene. Her story didn’t have to be killed, her conception of the self didn’t have to be killed, in order to reveal the brutal reality of stories twisting and intertwining without any inherently superior truth or narrative among them. Allison’s story was one of declaring herself. And that’s why it didn’t feel like it ended at the end. Instead, this felt like a beginning.

#this is probably the most egregious 'post that no one asked for' that I've ever written #but man this show HIT me y'all #and then I went back and reread parts of disgrace and that hit me too #it also made me reconsider my online presence and how I myself engage with narrative in the very small little world I'm a part of #I caught some shit a while ago and made a conscious decision to never comment on the narrative around the beatles #and to be clear I was just talking about a general narrative in society at large I wasn't bringing up anything specific or attacking people #more how larger social narratives filter into and sometimes come to define individual stories #but it was upsetting to people and I figured instead I can just try to express a compassionate perspective on the mentally ill myself #but now I wonder if I've gone too far #idk without naming any names I'm getting unblocked by people who should definitely still find my mindset intolerable to their worldview #and I don't blame them because we all have reasons for the things we believe and we're all just doing our best #but it's a canary in the coal mine #it makes me think I've become so focused on not ruffling feathers that I'm tacitly approving some disturbing beliefs #and I think I could have happily ignored that if I hadn't just watched this show #posts that no one asked for #kevin can fuck himself #kevin can f*** himself #op #longer rambles

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clowndensation · 7 months ago

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it's like. louis attempted to tell this story to daniel the first time, broke down, and attacked him before he could finish it.

and then decades later he's convinced himself that it was leaving the story unresolved that's holding him back from living his life fully now. so he invites daniel back again. and louis is sitting poised and put together, confident in his ability to recite his history in a pretty, poignant, neat little narrative that will resolve all the guilt and yearning and emptiness inside of him. that if he can just tell a compelling, satisfying story, maybe it will actually be that, and not the life he lived through, with all the pitfalls of his own failures lurking inside.

and then season 1 ends with him once again being forced to confront that the story he wants to imagine and the life he actually lived aren't the same thing. the boundaries around his narrative are shredded and he's left exposed, and subsequently able to face his past for the first time since that original interview. and you think, you think, "well this is it. they've crossed the event horizon. there's no use hiding the truth anymore, not after it's come flooding out into the open like this"

and then season 2 opens. not only is it back to the original, practiced distance, we now have armand literally enforcing that distance. a man sitting at the table who's interjections must be disregarded, an intentional interruption to the flow of the story. he doesn't exist to aid or add detail, he exists to distract louis when he gets too deep in the story. the only time we do get louis allowing any deep truth to come out is when armand leaves the room.

it's like. louis wants a story that's true, and the truth is what he's convinced will leave him satisfied. armand wants a story that will satisfy louis, to the extent louis will accept it's true.

#genuinely THE juiciest way to tell this story #like it's SO good #there's this coy little humor behind the ep #where louis and armand are very much like 'haha okay daniel you've caught us out. you've seen behind the curtain. this is the whole truth'#meanwhile daniel's getting '8 hours on how to avoid the sun and torpedoes'#like it's a faux revelation that completely backtracks all of the progress made at the end of season 1 #and even louis's (very touching) moment this episode where he tells daniel the truth #is a very digestible and ultimately non-harmful dive into his past #armand doesn't like it because it's part of a slippery slope of remembrance #but he doesn't actively get in the way of it being told because it's a revealed memory that doesn't ULTIMATELY mean that much #like i'm assuming we're all on deck as far as believing louis doesn't remember the full extent of claudia's death atm.#i could be wrong about that. but like. it is kind of the elephant in the room at the moment #so it's very much a case of armand getting to couch his own fears and attachment in 'doing the greater good for louis'#ultimately who does it serve if louis remembers everything and realizes armand's more negative role in his life?#all that will do is make him miserable. deprive him of the one person in his life who cares for him #better to have a palatable lie than a truth that could leave louis a danger to himself #('as long as you walk this earth i won't taste the fire' <- but she doesn't walk this earth and the reason why is sitting by his side)#isn't it the kinder and better thing to manufacture a world where louis can live with himself?#anyways. teehee. i missed this show so much. <3 #iwtv

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