TV Series Review: “Incorporated”–Or How I Lost My Soul to Climate Change

June 16, 2024February 12, 2024 / thealiennextdoor / Leave a comment

*Spiga employees submit to security checks when they enter the facility*

Incorporated is a science fiction thriller (on Netflix) that offers a chilling glimpse of a post-climate change dystopia. Created by David and Alex Pastor and produced by Ben Affleck, Matt Damon, Ted Humphrey and Jennifer Todd, the show (filmed in Toronto, Canada) opens in 82 °F Milwaukee in November 2074 after environmental degradation, widespread famine and mismanagement have bankrupted governments. We learn later that Milwaukee Airport served as a FEMA climate relocation centre that resembles an impoverished shantytown. In the wake of the governments demise, a tide of multinational corporations has swept in to control 90% of the globe and ratified the 29^th amendment, granting them total sovereignty.

Corporate climber at Spiga, *Ben Larson receives climate news updates as he gets ready for work*

Corporations fight a brutal covert war for market share and dwindling natural resources. Like turkey vultures circling overhead, they position themselves for what’s left after short-sighted government regulations, lack of corporate check and FEMA mismanagement have ‘had their way’ with the planet. The world is now a very different place. There is no Spain or France. Everything south of the Loire is toxic desert; New York City reduced to a punch line in a joke. Reykjavik and Anchorage are sandy beach destinations and Norway is the new France—at least where champagne vineyards are concerned. Asia and Canada are coveted for their less harsh climates.

Those who work for the corporations live in privilege behind the sentried walls of the Green Zones. The rest fend for themselves with scarcity in the contaminated slums of the Red Zones. The numbers aren’t provided in the show’s intro but we can guess that they are similar to Pedro Aguilera’s TV thriller 3% and Blomkamp’s motion picture Elysium—both about living with scarcity, where the few elite enjoy the many privileges—so long as they follow the elite rules.

“Kleptocracy reigns, paranoia rules, and the marketplace determines human worth,” writes Jeff Jensen of Entertainment Weekly about Incorporated. “Only the most obedient, cunning, and technologically adept can flourish. Question authority? You’re fired! And maybe worse.”

*Security at Spiga Biotechs catches Chad, Ben’s boss with illegal tech*

The ‘Elysium’ of Incorporated is an ‘Alice in Wonderland’ mixture of realizable technological advances, gadgetry and thrilling–if not chilling–consequence: like self-driving cars, intelligent wristbands, surrogate pregnancies and remote deliveries, genetic testing of ‘inferiors’, DNA theft and malware sabotage.

The first episode (Vertical Mobility) opens to a corporate ‘traitor’ being dragged into “the quiet room”, rumoured to be a torture chamber run by taciturn head of security Julian Morse (Dennis Haysbert). The scene shifts to the Green zone suburban house of corporate climber Ben Larson (Sean Teale). As he prepares to go to work, the news streams of hurricanes breaching levies; Canada building a wall to stem the tide of illegal American climate refugees–12 million already there; offshore oil rigs in the waters of the former Arctic ice cap; and finally to the “terrorist” bombing of the R&D lab of biochemical giant Spiga, where Ben works. Spiga, we later learn, plays the same games as Monsanto and Nestle to ensure profits at the expense of well-being.

*Building of biochemical giant Spiga Biotechnics stands tall next to the corporation’s motto*

“Over the past forty years,” says a giant image of CEO Elizabeth Krauss (Julia Ormond) to the suits passing security in the giant corporate lobby below, “Spiga Biotech has been at the forefront of the genetic engineering revolution. We design seeds capable of thriving in the increasing harsh environments of our planet. Our pest and drought resistant crops are now sold in over a hundred countries. And our advancements in in-vitro testing have transformed the synth food industry.” She ends with the mantra, “Spiga: committed to feeding our ever-growing world.”

Ben is, of course, not what he pretends he is. The upwardly mobile executive has wed Laura Larson (Allison Miller), a doctor with a courageous heart who also happens to be the daughter of the unscrupulous Kraus. Ben is really Aaron, a former Red Zone techno-hustler who covertly searches for his Red Zone sweetheart, now a sex slave to corporate executives at Arcadia, the ‘men’s club’ of Spiga. If he’s going to spring her, Ben will have to get promoted to the 40^th floor.

“If our [current] political climate has you feeling apocalyptic, Incorporated may or may not be the show for you,” writes Jensen. “It’s a triggering dystopian thriller and wannabe allegory-for-now about… well, apocalyptic climate change.” This show, perhaps more than any other, stirs disquieting thoughts of now—and with it, guilt about what we’re doing or not doing. At the heart of Incorporated is climate change, which is also its main character.

*Laura meets her new patient for facial reconstruction*

“The most impressive performance and character in Incorporated is its deeply imagined world,” writes Jensen. “Throwaway ideas, like a grieving widow who hires Laura to remake a poor immigrant in the image of her dead husband, could seed whole episodes of Black Mirror. James Bond would kill for the arsenal of gadgets Aaron deploys in his soul-staining subversions.” Nuanced minutiae and brilliant minor characters weave a mad tapestry that enrich and intrigue.

And like a Seurat painting, their subtle details change with perspective and build into a subliminal realism you can’t shake: from the food porn in the opening scene to eating rats in climate relocation camps or drinking dirty Red Zone water that costs $5. In Cost Containment we learn that Spiga competitor Inazagi is developing salt-tolerant crops that, like the mangroves, will thrive on irrigated seawater in the deserts left by an exploitive short-sighted America: Iowa, Missouri, Kansas—all the dust storm states. In a later episode, a murdered corporate executive is found by two dowsers on the dried lakebed of Missouri’s Lake Lotawana. We hear about the “oil wars” in Capetown.

“This “makes it hard to not think of the current political and cultural state of things across the globe,” writes Aaron Pruner of Screener TV. The fourth episode (Cost Containment) “opened with a familiar feeling infomercial. Yet, instead of Sally Struthers pleading with the common American to donate money to help feed a starving child in a third-world country, [a Chinese narrator presented] the United States as that third world.” Liz Shannon Miller of IndieWire writes: “watching [that scene] at this exact moment in our history is science fiction that might be a little too real. You can forget about The Walking Dead or The Exorcist: Incorporated may be the scariest show on television. Says Pruner, “The thing that brought us here? Climate change.”

*Julian Morse interrogates Ben about illegal use of Spiga tech*

“It’s what gives us … the refugee camps and ration hacking, the high-class cut-throat world of corporations and the privileged, yet dangerous, culture that comes with it,” adds Pruner. The corporation’s tyrannical demand for allegiance through rumours of loss of privileges, “contract termination”—or worse—resonates through the ranks in what the hacker in the Red Zone calls ‘cattle prod.’

*Red Zone hacker sets Caplan to catch a rat as payment for her creating an illegal hacking device for him*

“You poor suits, always trying to catch up,” says the Red Zone hacker (Sara Botsford) to Roger Caplan (Douglas Nyback), ambitious executive looking to steal his way to the top. “A climber like you gets caught with something like this [a ‘keyhole’, which “allows you to snoop in any system without leaving any footprints”] he’s gonna get spanked. Or worse.” Word is out that Spiga security can be very inventive with cattle prod.

Spiga’s main competitor Inazagi (a take on Izanagi, the male Japanese Shinto god responsible for creation) starts its propaganda machine on the very young to keep its corporate family in line. The third episode (Human Resources) opens with an Izanagi propaganda video for children. TV Fanatic calls it “both cute and chilling. Teaching your children to rat out Mom and Dad is pretty cold, but hey, this is the future, right?” But is it just the future? I’m confident that TV Fanatic wasn’t born yet when the Nazis formed the Hitlerjugend. But I would suggest they look up what Santayana said about history…

In one of the best played and most gratifying narrative threads of the show, a Red Zone techno-hacker (played by Canadian actress Sara Botsford) provides some twisted humour as she easefully negotiates the Spiga machine to put corporate brat Roger Caplan in his place, enlighten us on some history and entertain us all at the same time. After Caplan disdainfully throws money at her to create a skeleton key to bypass the self-destruct protocol of his stolen keyhole, the hacker ops for entertainment instead as payment: she takes him outside her secured warehouse enclave and points to a small rat feeding on the debris in the adjoining alley.

*Caplan chases after the rat as the Red* *hacker looks on, amused*

“You see her?” To Caplan’s quizzing look, she points. “Beady eyes, pair of whiskers, long tail…” He finally gets it; the rat. “I want you to catch it,” the hacker bates him. “All ya gotta do is catch a little animal with the brains the size of a peanut. How hard can that be?”

After Caplan’s first attempt, in which he cuts his head, she croons, “Now that’s entertainment!” And chortles like a witch; but we find ourselves cackling with her. After successfully humiliating Caplan, the hacker forces him to do more. She starts with her own history: “I got here with the first wave of climate refugees, chased up north by the sandstorms. Government rations were never enough. You were probably sucking on your gestator’s tit,” she scoffs at Caplan, “while my brother and I had to scramble for enough protein. Sometimes there was only one source of it. Although it was everywhere, really…” Her gaze drifts down to the dead rat on the floor that Caplan had brought in at great expense to his clothes and pride. She adds, “I’d tell you it tastes like chicken but I don’t really remember what chicken tastes like. Why don’t you tell me whether it tastes like chicken…”

What follows is some deep gratification in witnessing Caplan—self-centered and greedy corporate archetype—get schooled by a “lowly” but sly plebe. A “little old lady” no less! And let’s not forget the wily rat who sent him on that hellish chase in the first place…

*Disgruntled Caplan after his first attempt to catch the rat*

Pruner asks, “Could climate change push us into a collapsed society, informed consistently by the ongoing threat of class warfare? Will we eventually be separated by electric fences and really big walls? Are fear and greed going to be the currencies of our reality? These burning questions should sound far-fetched and silly, but as we watch Incorporated’s tale unfold, it’s hard not to wonder what our own future will bring.” Far-fetched and silly? Is it any more far-fetched and silly than voting in a president who claims that the Chinese invented climate change to make American manufacturing non-competitive?

The best entertainment doesn’t put you to sleep; it wakes you up. The best entertainment doesn’t just offer visceral escape; it engages you on many levels to connect, think and feel. And like all good things—friendship, love, family and home—its core value lies in its subtle yet deep truths. The best entertainment shows you a mirror of yourself. Incorporated is less thriller than satire. It is less science fiction than cautionary tale.

*The real and the unreal worlds of the post-climate change world of Incorporated*

“You look to Incorporated for dystopian fiction that expresses our current anxieties,” says Jensen. “What you get is fitful resonance that makes you realize it might be too soon for any show to meet that challenge.”

Or is it more that we may be too late…

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press (Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

TV Series Review: “Biohackers”–When Synthetic Biology Meets Ethical Intrigue

February 4, 2024February 12, 2024 / thealiennextdoor / Leave a comment

Biohacking is an umbrella term comprising synthetic biology, DIY science, bodyhacking, and health optimization
Elsa Sotiriadis, synthetic biologist

Biohackers, currently streaming on Netflix, is a fast-paced techno-thriller created by Christian Ditter with synthetic biology at the very center of its intrigue. In the journal Science Dov Greenbaum describes the German show as “a fictional tale centred around the sociotechnological movement known as do-it-yourself (DIY) biology, in which amateurs, professionals, anarchists, and civic-minded citizens push the boundaries of mainstream biology.” Greenbaum describes the show’s main characters as “a wealthy biopharmaceutical executive, a group of medical students, a number of stereotypical biohackers, and a community of transhumanists intent on modifying their bodies for seemingly impractical endeavors.” The show stars Luna Wedler as Mia Akerlund and Jessica Schwarz as Professor Tanja Lorenz; but the real star of the show is biohacking: human enhancement or augmentation to improve health, performance, or well-being. Biohacking ranges from efforts to improve brain function to faster weight loss. Some are relatively safe to try at home; others may pose health risks. Among others, the show features glow-in-the-dark mice, gene-modded weed, underwater pills that extend your ability to hold your breath, and payment microchips in your hand.

*Scientist in hazmat suit confronts Mia, the soul survivor of bioterrorism on a train to Berlin*

Biohackers opens with a disturbing scene of bioterrorism on a train headed to Berlin. All passengers suddenly choke and fall unconscious—except for young med student Mia Akerlund, who tries to help and fails.*

From that explosive flash-forward scene, the show jumps back to two weeks prior, as college freshman Mia settles into Freiburg University’s prestigious medical school, and betrays a particular interest in synthetic biology, biohacking and genome editing. We soon learn that she is obsessed by celebrated professor and geneticist/entrepreneur Tanja Lorenz (who runs a biopharmaceutical company and has an entire building dedicated to her research with huge neon logo of her name). Both women are connected by a dark secret to do with Mia’s twin brother who mysteriously died when still a boy. Mia quickly gains a position working for Lorenz, which plunges her into the dangerous intrigue of illegal genetic experiences.

*“The truth will set you free” inscribed on the collegiate building of Freiburg University*

A touching reflection of Mia’s quest sits emblazoned on the front façade of the collegiate building, where she has her first class: in gold letters, is the inscription “Die Wahrheit wird euch frei Machen” (The truth will set you free) from the Gospel of John. Ironically, we soon realize that she is a purveyor of many secrets, including her own name.

An early, rather enlightening, scene of the first episode is of Mia’s first introductory biology class given by celebrated gene therapy tycoon Professor Lorenz. Not only does the scene introduce the controversial subject of synthetic biology; it reveals a disturbing sense of what’s at stake and the danger of scientific hubris. Tall, svelte and confident in a smart haircut and tailored suit, Lorenz struts like a self-proclaimed goddess in front of a student-crowded lecture hall and preaches the benefits of synthetic biology. When she asks the class “What is synthetic biology?” and a student replies “with the help of synthetic biology, we can alter existing life forms or create new ones,” Lorenz prickles beyond her already frosty demeanor and impatiently berates the students for their lack of vision. She challenges them to think bigger: “Synthetic biology transforms us from creatures into creators. It’s not just the future of medicine, but of humankind. We can cease entire infections before the outbreak … We eliminate genetic disorders. But if we don’t do our work exceedingly well, it could end our species. It is on us to find a way; this is your future. Your responsibility. You are the creators of tomorrow. We make God obsolete…”

*Lorenz obtains throat swab for DNA sequencing from a patient in a fertility clinical trial as Mia looks on*

Mia uses Jasper (Adrian Julius Tillmann) one of Lorenz’s teaching assistants to get herself noticed and hired by Lorenz and we are soon introduced to the glossy Lorenz Excellence Centre, a prestigious biopharmaceutical firm. Mia also discovers that Lorenz keeps her illegally obtained DNA database and does illicit gene therapy work in a secret well-equipped lab in her home. Mia is after that database to prove what she fears is true.

*Mia helps Jasper capture his glow-in-the-dark mouse, that had escaped in the library*

The first season (of two) unravels an unconventional conspiracy plot delivered through slow-building suspense, using flashbacks and flash-forwards, until its cliffhanger ending. Science, academia and intrigue are skillfully woven in an intelligent mystery-thriller that not only represents science accurately but delivers commentary on the ethical and moral questions of this highly dynamic and rapidly evolving field of science.

Speaking of rapidly evolving field, I found it interesting that Dr. Lorenz makes note of this in one of her lectures in the show; after singling out Mia for relying on sources other than the textbook to solve a problem, Lorenz literally trashes the textbook in front of the class with a pithy comment on its being already out of date due to the dynamic nature of the field. I ran across this in my own experience as a university student in the field of cell physiology; my prof negated using a textbook, and instead suggested a huge list of journals for our edification.

Biohackers touches on several ethical and moral questions, such as genetic modification of stem cells, access to advanced gene therapies, and privacy and consent surrounding genomic data. Synthetic biologist Elsa Sotiriadis warns that, “this topic will likely become an ethical minefield in the coming years. On the one hand, we need large and diverse datasets to train medical AI and develop therapies. But on the other, there’s nothing as personal as your literal blueprint. Unlike stolen credit cards, you can’t change your genomic data. I like that Biohackers brings this up.”

Mia’s roomates enjoy a biohacker’s party

Dov Grenbaum’s article in the journal Science entitled “Biology’s brave new world” celebrates the show for its accurate representation of complex laboratory equipment and procedures and how it accurately represents the intricacies, motivations and ethical issues of biohacking from sophisticated big-business gene therapies to DIY homespun biology. Jasper, Lorenz’s teaching assistant, has his own biohackspace where he develops the gene therapy for his rare genetic disease. It’s housed off-campus in a makeshift van on some scrubby property in the woods. With professional lab machines being extremely expensive, Jasper relies on DIY lab equipment.

Smartlab Architects helped make Biohackers as technologically accurate as possible and connected the directors with lab industry experts to create the modern labs and DIY biohacker space featured in the Netflix series. They also take you on a brief tour of Jasper’s biohackspace set up and equipment.

Professor Lorenz’s university lab in the Lorenz Excellence Centre, where she runs her official studies and where Jasper and Mia work, was actually located in LMU Biocampus Martinsried and used by students and professors for their regular research.

*Lorenz interrogates Jasper in the lab of her Excellence Center*

Smartlab Architects also designed Professor Lorenz’s secret private lab located in the basement of her mansion: “We designed this lab with the goal to build he most futuristic automated and sexy laboratory one could imagine.”

*Jasper and Mia in Lorenz’s secret lab in her house*

Thanks to the emergence of the open-source movement, greater access to reagents and devices, lowered costs of sequencing costs, and increased access of tools and methodologies for non-experts, expensive genetic engineering experiments that could previously only be carried out behind the walls of big institutions can now be done on a kitchen table with ingredients bought on eBay. For instance, there is Chen-Lu (Jing Xiang), the “introverted nerd,” a DIY biologist who genetically modifies fungi and plants (to make beef-tasting mushrooms or to create a bio-piano); Ole (Sebastian Jakob Doppelbauer) does various bodyhacking self-experiments and uses an NFC microchip in his hand to pay in shops. It’s worth noting here that biohacking is illegal in Germany.

*Mia’s roommates at a party featuring bioluminscent biohacked weed* *using DNA similar to that of a firefly*

Sotiriadis notes that, “the cut-throat Machiavellian culture of Lorenz’s secretive big-budget lab clashes with the free-spirited biohackers who are engineering mushrooms with new flavours to make livestock farming obsolete and “CRISPR together” in a camper van lab in the woods and at home. It’s a nicely captured contrast.”

Sotiriadis adds that, “the series shows experiments as multi-step scientific protocols that sometimes go wrong, which is refreshing.” Sotiriadis further describes the show as: “Part revenge plot, part young adult love drama, part dismantling a large-scale conspiracy; the unconventional pieces sometimes move smoothly together and sometimes clash, but the plot is glued together with lots of visually appealing synthetic biology experiments and bioluminescent matter of diverse natures.”

Greenbaum has the last words: Biohackers “serves as a pedagogical vehicle to raise many timely and interesting ethical, legal, and social concerns. From bioluminescent mammals to the collection of genetic material for clinical trials, the series’ storyline highlights how cavalierly we sometimes approach genomic data and genetic engineering.” Greenbaum cites one of the characters who suggests that the ends of her research justify the experimental means, even though her methods demonstrate a gross disregard for test subjects who may suffer as a result. The show also offers insight into the motivation for DIY biology: a friend confides to Akerlund on how Lorenz is willing to sell a cheaply acquired drug to desperate patients for inflated prices. “Such frustrations are what drive many citizens operating outside traditional institutions to develop their own pharmaceutical solutions.”

“It is ironic that Biohackers is set in Germany,” says Greenbaum, “one of the few places where genetic engineering experimentation outside of licensed facilities is illegal and can result in a fine or even imprisonment.”

*An interesting note here; the show was initially slated to first air in April 2020; however, given the highly disturbing opening scene and its likeness to COVID-19 currently raging at the time, the show’s premiere was pushed to August. While Biohackers isn’t about a pandemic, its chilling first scene was thought to stir up too many fears from an already disease-stricken public. Another science thriller that covers similar themes and issues of synthetic biology is Regenesis, a Canadian TV show currently airing.

TV Series Review: Living With Scarcity & Uncertainty: The Merits of “3%”

July 16, 2023March 4, 2024 / thealiennextdoor / Leave a comment

*Michele and Fernando collaborate in the cube test*

Candidates have three minutes to make nine cubes out of a pile of blocks in the centre. Those who complete the puzzle in time will move on to the next test; those who don’t are eliminated and must return to the slums—their one chance at a better life dashed. Among the nine candidates in the room are Rafael (Rodolfo Valente), who steals a cube from another candidate to get his nine. Michele (Bianca Comparato), who initially out of kindness helps Fernando (Michel Gomes), who’s reach to the pile is limited, is in turn helped by him when she is shy one cube: at time-end, he cleverly piles her eight cubes into one large cube—the ninth—and she passes the test.

So begins Netflix’s 3%, a Brazilian dystopian thriller series created by Pedro Aguilera and directed by Cesar Charlone. In a kind of Hunger Games contest, candidates cheat in self-service; others violently impose Darwinian entitlement and survival of the fittest; yet others rely on reciprocal altruism.

3% is set in the near future after the planet has fallen into a divided haves and have-nots through some calamity. Three percent of the population live well on an island in the Atlantic Ocean, called Offshore (Mar Alto). The remaining 97% struggle Inland with poverty and scarcity. A selection process lies between them.

Every year the 97% send their 20-year olds to undergo The Process, a grueling Hunger Games-style contest run by the Offshore elite to replenish their numbers. Only 3% of the candidates will be considered worthy. They must pass psychological, emotional and physical tests to earn a place in Mar Alto.

By the time Season 1 is over, candidates will have committed a full range of desperate and unsavory acts to make the cut—the stakes are high, after all: secure a position in the 3% elite or die in squalor and poverty. After being eliminated during the interview process, one youth throws himself off a balcony of the testing centre.

“It’s not so far from our own world, where the competition to get into a good school and land a good job drives many to self harm,” writes Matthew Gault on Motherboard. “In the 3%, as in our own world, society looks down on those who don’t achieve and there’s a certain kind of person who believes that life’s losers earned their place at the bottom.”

*Ezekial, who runs “the Process” speaks to the new contestants*

Inland is valued by the elite only for its reserve of youth to recruit Offshore’s strictly controlled population (you only find out how in the last show of Season 1). As for what personality and fitness The Process tests for is also uncertain. “You each create your own merit,” says Ezequiel, who runs The Process, to the candidates. “No matter what happens … you deserve this.” The corollary is that if they don’t have merit—value, as determined by Ezequiel’s Process—they don’t deserve to move Offshore. There is, of course, a resistance to The Process, called The Cause. They cause stirrings of unrest and may even be responsible for the first murder in Offshore in over 100 years—which puts Ezequiel’s Process under question. Ezequiel dismisses The Cause by suggesting that it operates “in the name of a false or hypocritical equality.”

There is no inherent equality or fair entitlement in a land of scarcity; there is only proof of merit to a limited resource. This meritocratic notion—and the need to prove one’s worth to be accepted—is so ingrained in society that not even the poor question it. It was American writer John Steinbeck who argued that socialism would never take off in America because the poor see themselves as “temporarily embarrassed capitalists.”

*Michele and Joana in the poor section of town*

We find out in the first show that the first murder in 100 years has occurred Offshore—which puts Ezequiel’s Process under question. And there are stirrings of unrest—some likely instigated by The Cause.

“3% is a brutal commentary on the world’s rising income inequality and the lengths we’re all willing to go to improve our lot,” writes Gault. “It’s a world of extreme income inequality where techno-fascists rule with an iron fist…Brazil has some of the highest income disparity on the planet,” writes Gault. “São Paulo is a megacity where the ultra-rich travel the skies in rented helicopters and cruise the streets in bulletproof cars. It’s a city where the poor live in makeshift favelas that resemble something from William Gibson’s nightmares. It’s a city where plastic surgeons do a brisk trade in reconstructive ear surgery because kidnapping is common and the easiest way to prove you’ve got a mark is to send their ear.”

With each episode, 3% examines the motivations and paradoxes of heroism and villainy, sometimes turning them on their sides until they touch with such intimacy you can’t tell them apart. At its deepest, 3% explores the nature of humanity—from its most glorious to its most heinous—under the stress of scarcity and uncertainty. How we behave under these polarizing challenges ultimately determines who we are.

3% joins the ranks of several other films and shows about near-future scarcity-driven societies, with two examples below:

Snowpiercer—a stylish post-climate change apocalypse allegory. The train’s self-contained closed ecosystem of scarcity is maintained by an ordered social system, imposed by a stony militia. Those at the front enjoy privileges and luxurious living conditions, though most drown in a debauched drug stupor; those at the back live on next to nothing and must resort to savage means to survive. Minister Mason, an imperious yet simpering figure who serves the ruling class without quite being part of it, reminds the lower class that: “We must each of us occupy our preordained particular position. Would you wear a shoe on your head? Of course you wouldn’t wear a shoe on your head. A shoe doesn’t belong on your head. A shoe belongs on your foot. A hat belongs on your head. I am a hat. You are a shoe. I belong on the head. You belong on the foot. Yes? So it is. In the beginning, order was prescribed by your ticket: First Class, Economy, and freeloaders like you…Now, as in the beginning, I belong to the front. You belong to the tail. When the foot seeks the place of the head, the sacred line is crossed. Know your place. Keep your place. Be a shoe.”

Advantageous—Jennifer Phang’s “pre-dystopia”, where jobs have become heavily automated and opportunities for education are cutthroat. Women have been generally forced out of the workplace and onto the streets: the logic being that they will be less violent while living on the street than men. Artificial intelligence has supplanted most people in middle management. “The people you do see are either impoverished and disenfranchised or are hidden in the upper floors, the protected places,” says director Jennifer Phang. Unemployment is close to 50% and there are no public schools. The only options for a young girl—if she is not to end up on the streets, either as a beggar or prostitute—is to attend a highly selective free magnet school or a very expensive private school.

In his book Four Futures: Life After Capitalism, author Peter Frase considered effects of climate change and automation in possible outcomes of a post-Trump election America. Frase envisioned four scenarios based on abundance and scarcity and whether a society operated by equality (e.g., communism or socialism) or hierarchy (rentism, exterminism).

With scarce resources, socialism (aka Ecotopia) may arise within an egalitarian society if driven by altruistic notions of self-limitation. Ecologists describe such a self-limiting system as K-selected (see my discussion of K-selection and r-selection in “Water Is…”). A K-selected population is at or near the carrying capacity of the environment, which is usually stable and favors individuals that successfully compete for resources and produce few young. The K-selected strategy runs on a successive gradient of maturity, from initially competitive to ultimately cooperative. Competition is a natural adaptive remnant of uncertainty and insecurity and forms the basis of a capitalist economy that encourages monopolization and hostile takeovers. Competition results from an initial antagonistic reaction to a perception of limited resources. It is a natural reaction based on distrust—of both the environment and of the “other”—both aspects of “self ” separated from “self.” The greed for more than is sustainable reflects a fear of failure and a sense of being separate, which ultimately perpetuates actions dominated by self-interest in a phenomenon known as “the Tragedy of the Commons.” Competition naturally gives way to creative cooperation as trust in both “self ” and the “other” develops and is encouraged through continued interaction.

Exterminism (aka Mad Max) may arise under a hierarchical model, driven by greed and exacerbated by uncertainty in the environment—not unlike what we are currently experiencing with the planet’s system and cyclical changes. In this scenario, in which resources are both limited and uncertain, those with access to them would guard or hide them away with desperate fervor. Frase writes:

“When mass labor has been rendered superfluous [through automation], a final solution* lurks: the genocidal war of the rich against the poor.”

Gault says it best: “3% hits so hard because it seems bizarre and distant, but as the show unwinds and reveals its mysteries, audiences will come to realize that we’re already part of The Process.”

*the Final Solution was originally used by Nazi Germany as “the Final Solution to the Jewish Question”; the Nazi plan to exterminate the Jews during World War II, formulated in 1942 by Nazi leadership at the Wannsee Conference near Berlin, culminated in the Holocaust, which murdered 90 percent of Polish Jews.

References:

Fisher, Mark. 2009. “Capitalist Realism: Is There No Alternative?” Zero Books. 92pp.

Frase, Peter. 2016. Four Futures: Life After Capitalism.” Verso. 160pp.

Gault, Matthew. 2016. “Netflix’s ‘3%’ Turns the Google Job Interview into a Dystopian Nightmare.” Motherboard, November 27: https://motherboard.vice.com/en_ca/read/netflix-3-percent-review

Munteanu, Nina. 2016. “Water Is…The Meaning of Water.” Pixl Press. 584pp.

How the Women of “The Expanse” Are Expanding Our Worldview

April 5, 2018February 12, 2024 / thealiennextdoor / 6 Comments

Something is changing for women—and for men too. I’m talking about storytelling, both in literature and in film. Only a few years ago, no one would have predicted the success of Wonder Woman, which portrays a well-rounded (gylanic) female hero as both “badass” warrior (strong, determined and violent) and kind (compassionate, nurturing, empathetic and inclusive). Sadly, its release in 2017 stirred a backlash of mysogynist censure from some males who support—like strident insecure Trump-ets—a male-dominated androcratic world where a submissive demure woman is admired as “feminine” and a determined mindful woman considered as betraying her gender. The film was a box office hit. Wonder Woman grossed $822 million (highest-grossing superhero origin film of all time). And a significant number of viewers were women.

The Androcratic Hero

The male hero stereotype in literature and films of western neoliberal-corporate culture—and science fiction particularly—has often been characterized by strength, courage, integrity & honor, intelligence, assertiveness, single-mindedness, faith in his quest, and boundless determination: he is the altruist warrior, often acting alone against an unfair society through his conscience: all traits honored, respected and esteemed in men. In a woman, these Boadicean qualities often taint her as “bitch” “bossy” or “cold”. She may be considered unwomanly, unlady-like, intimidating, and untouchable (as in lesbian).

In the androcratic model, a woman “hero” often presupposes she shed her feminine nurturing qualities of compassion, kindness, tenderness, and inclusion, to express those hero-defining qualities that are typically considered “male”. I have seen too many 2-dimensional female characters limited by their own stereotype in the science fiction genre—particularly in the adventure/thriller sub-genre. If they aren’t untouchable goddesses or “witches” in a gynocratic paradigm, they are often delegated to the role of enabling the “real hero” on his journey through their belief in him: as Trinity enables Neo; Hermione enables Harry; Mary Jane enables Spiderman; Lois enables Superman; etc. etc. etc.

In so many androcratic storylines, the female—no matter how complex, interesting and tough she starts out being—demures to the male lead. This returns us to the clichéd role of the woman supporting the leading man to complete his hero’s journey—without considering her own. And this often means serving as the prize for his chivalry. We see this in so many action thrillers and action adventures today that promote the “hero’s journey” story trope. There’s even a name for it: the Trinity Syndrome.

Just four years ago, in a post on women heroes in literature, movies and pop culture, I quoted Gitesh Pandya, editor of a box office analyst site, who argued that this is because female-driven action movies have a hard time selling. “Most of the action films that have become huge hits are either male-driven or ensemble.” According to Pandy, “The (SF action) film industry has been male-dominated for so long, the people who are creating and financing these films typically put men in there as heroes.”

The Expanse Challenges the Androcratic Trope

Miller and Octavia Muss

In 2015, Syfy released Season 1 of The Expanse, a stylish and intelligent science fiction (SF) TV series set 200 years in the future when humanity has colonized the moon, Mars and the Asteroid Belt to mine minerals and water. The series is based on the novel series by James S.A. Corey with first novel in 2011 being “Leviathan Wakes”. Humanity has split three ways culturally, ethnically and even biologically: Earth is currently run by the United Nations; Mars is an independent state, devoted to terraforming with high technology; and the Belt contains a diverse mix of mining colonies, settlers, workers and entrepreneurs. Belters’ physiology differ from their Earth or Mars cousins, given their existence in low gravity.

The Expanse is a sophisticated SF film noir thriller that elevates the space opera sub-genre with a meaningful metaphoric exploration of issues relevant in today’s world—issues of resource allocation, domination & power struggle, values, prejudice, and racism. Critic Maureen Ryan of Variety says, “It’s to the show’s credit that it is openly political, and takes on issues of class, representation and exploitation.”

Women of “The Expanse” as Heroic Agents of Change

These issues are explored well through its female protagonists with subtle nuances of multi-layered social commentary sewn into virtually every interaction.

Julie Mao (Florence Faivre)

Julie Mao (Florence Faivre) is an Earther and “the richest bachelorette in the system” according to Detective Miller, who is contracted by his boss to “kidnap” the “spoiled” wayward daughter of corporate magnate Jules Pierre Mao and return her home before she embarrasses him further. Julie joined the hard core faction of the OPA (Outer Planet Association, led by Anderson Dawes as an activist organization that sells itself as a liberator for Belters but is really a terrorist revolutionary group, looking to shift the balance of power); she naively joined to help the lowly belters achieve justice and a voice in the oppressive squeeze by Martian and Earth corporate interests. In “Back to the Butcher”, a colleague of Julie’s relates how she selflessly helped injured minors on Calisto in a tunnel collapse with cadmium poisoning: “I never saw her shed a tear over the fact that she’d have to take anti-cancer meds for the rest of her life.” The only time she cried, he shares, was when she was acknowledged as being a true “beltalowda.”

Chrisjen Avasarala (Shohreh Aghdashloo)

Chrisjen Avasarala (Shohreh Aghdashloo) is the U.N. Deputy Undersecretary on Earth and a brilliant 23rd-century Machiavelli. She will stop at nothing in her search for the truth, including gravity torturing a Belter or playing her friends and contacts like chess pieces to find answers. What makes Chrisjen far more interesting than, say a Circe or Claire Underwood, is that her scheming—as reprehensible as it may be at times—comes from a higher calling, not from lust for power or self-serving greed. She’s seeks the truth. And, like Miller, she struggles with a conscience. Chrisjen is a complex and paradoxical character. Her passionate and unrelenting search for the truth together with unscrupulous methods, make her one of the most interesting characters in the growing intrigue of The Expanse. Avasarala is a powerful character on many levels—none the least in her potent presence (thanks to Shohreh Aghdashloo’s powerful performance); when Avasarala walks into a scene, all eyes turn to her.

Naomi Nagata (Dominique Tipper)

Naomi Nagata (Dominique Tipper) is a Belter who grew up on prospecting ships in the Belt and Outer Planets. An extremely talented engineer with a mysterious past of regret and secret pain, Naomi uses arcane abilities to save the ship and her crew. “I have no resentments,” she tells her Martian interrogator. “I don’t believe in causes.” While she makes a point of expressing no allegiances, the Martians accuse her of being an OPA operative and she finds herself ironically defending the Belt and Belters in the struggle between Earth and Mars. “We need to stick together,” she tells fellow Belter Miller and helps Fred Johnson’s team. Driven to help those in need, Naomi selflessly puts herself in harm’s way to save Belters used as lab rats on Eros or those left to die on Ganymede after a Mars and Earth skirmish. In an intimate moment with Holden after the atrocity on Eros with the proto-molecule experiment, Naomi reminds him: “We did not choose this but this is our fight now. We’re the only ones who know what’s going on down there; we’re the only ones with a chance to stop it.”

Camina Drummer (Cara Gee)

Camina Drummer (Cara Gee) is a hard-calculating Belter who used to work for Anderson Dawes and is currently second in command for Fred Johnson (a previous U.N. officer and ‘the butcher of Anderson Station’ currently helping the OPA) on Tycho Station. A complex character with mysterious connections and intuitive skills for people, Drummer gives one the impression that she can nimbly navigate between hard-line OPA and Fred’s Earther-version of OPA justice for Belters. In “Pyre”, she shows her mettle when—after being shot and held hostage by a militant faction on Tycho—she finds the strength to summarily execute them.

Bobbie Draper (Frankie Adams)

Bobbie Draper (Frankie Adams) is a staunch hard-fighting Martian marine who dreams of a terraformed Mars with lakes and vegetation and breathable atmosphere. Because of Earth’s Vesta blockade, Draper realizes that she will not realize her childhood dream of seeing Mars “turned from a lifeless rock into a garden.” The blockade forced Mars to ramp up its military at the expense of terraforming. Draper laments that, “with all those resources moved to the military, none of us will live to see an atmosphere over Mars” and bears a strong resentment against Earth. However, when Bobbie discovers her own government’s culpability with an Earth weapons manufacturer that used her own marines as guinea pigs, she chooses honour over loyalty and defects to seek justice.

Anna Volovodov (Elizabeth Mitchell)

Reverend Doctor Annushka (Anna) Volovodov (Elizabeth Mitchell) is a gay Methodist doctor (married to a woman and with a daughter) who is introduced in Season 3 as she struggles through a mob of anti-war protestors to enter the United Nations building on Earth. When a young man collapses through the barricade and breaks his wrist, Anna asks him, “Is this your first protest?” then calmly and firmly directs a surly guard to help him, handling the situation with firm grace–even after being injured in the confrontation.

The Secretary General (who she had a previous friendship that soured over some dubious event) has called Anna in to write a stirring speech to unite Earth behind the war erupting between Earth and Mars. Anna enters the political intrigue with naive hope and is badly used; but her inner strength, keen intelligence and courage propels her on an amazing trajectory of influence to the outer reaches of the solar system where first contact is imminent. Like a quiet summer rainstorm, Anna brings a fresh perspective on heroism through faith, hope and inclusion.

Women as Gylanic Heroes

The gylanic hero is gaining momentum in science fiction and action-thrillers; the gylanic hero—embraced mostly by women—teaches us what humanity needs now more than ever: the heroic gifts of altruism, compassion, faith, courage, passion, and endurance. She is already there, in movies and TV shows like Lucy, Edge of Tomorrow, Hunger Games, Divergence, Orphan Black, Farscape, Battlestar Galactica and The Expanse: fighting the dragons of prejudice, ignorance, cruelty, greed and intolerance–in partnership with her male counterpart.

When we dispense with gender-bias in defining heroism in story, we display maturity as a species. I think of my favorite stories in literature, peopled by men and women; all heroes: Tess of the d’Urbervilles, Fahrenheit 451, King Lear, Solaris, The Grapes of Wrath, 1984, Doctor Zhivago, Brave New World, Martian Chronicles, and To Kill a Mockingbird — to name just a few. The gender of the hero I empathized with was irrelevant. What remained important was their sensibilities and their actions of respect and integrity on behalf of humanity, all life and the planet.

Gylany: a social system based on equality of men and women
Androcracy: a form of governing system in which rulers are male (patriarchal rule)
Gynocracy: as with androcracy, an authoritarian rule by women over men (matriarchal rule)

A list of SF books and films with whole and relevant female heroes–gylanic heroes– follows below. There are many more. I’ve listed these because they are ones I enjoyed and know, several being my own. Please add yours:

GYLANIC HEROES (portraying women as agents of change equal with men)

Contact by Carl Sagan (Simon and Schuster) 1985. A woman’s quest into the unknown for benevolent intelligence in the universe.
Beggars in Spain by Nancy Kress (Harper Collins). 1993. A story that examines social consequences to transhumanist generic engineering.
A Handmaid’s Tale by Margaret Atwood (Anchor). 1998. A chilling fable of the near future, about a monotheocratic government where women are strictly controlled and assigned roles.
Cordelia’s Honor by Lois McMaster Bujold (Baen). 1999. A woman’s journey through deception and betrayal to find honour.
His Dark Materials Trilogy by Philip Pullman (Laurel Leaf). 2003. A fantasy alternate world adventure about a young girl who discovers that the fate of the universe lies in her hands.
Battlestar Galactica TV series by Ronald D. Moore. 2004. This second iteration of space “noah’s arc” is largely steered by key female agents of change in a gender-blind universe from complex pugilistic fighter jock and sly but intuitive politician, to love-seeking humanistic robot—all on a significant hero’s journey.
Darwin’s Paradox by Nina Munteanu (Dragon Moon Press). 2007. An eco-thriller about a woman unjustly exiled for murder and her quest for justice in a world ruled by technology and scientists.
The Hunger Games by Suzanne Collins (Scholastic Press). 2008. A series of books about teens forced to fight to the death on television.
The Year of the Flood by Margaret Atwood (McClelland and Stewart). 2009. Toby and Ren must survive the apocalypse described in the previous novel, each reminiscing about their time in the God’s Gardeners religious movement and the events that led to their current situations.
The Steel Seraglio by Mike Carey, Linda Carey, Louise Carey and Nimit Malavia (Chizine Publications). 2012. A novel about the women of a harem in an ancient Middle Eastern kingdom, who forge themselves into an army after they’re exiled from the city of their birth — and then return to claim the city for themselves.
The Splintered Universe Trilogy by Nina Munteanu (Starfire). 2011-2014. This trilogy, starting with Outer Diverse, follows the quest of Galactic Guardian Rhea Hawke, who must solve the massacre of a spiritual sect that takes her on her own metaphoric journey of self-discovery to realize power in compassion and forgiveness.
Divergent by Veronica Roth (Katherine Tegen Books). 2012. a young girl overcomes her assigned caste in a dystopian Chicago to realize her true self-identity, revealed to be dangerous to the very existence of her ordered society
The Last Summoner by Nina Munteanu (Starfire). 2012. A young baroness discovers that her strange powers enable her to change history—but at a cost. Vivianne begins her journey in the year 1410, on the eve of a great battle. She dreams of her Ritter (knight), who will save her from her ill-fated marriage and the strange events that follow. But early on, she realizes that she is the Ritter she dreams about.
Leviathan Wakes & series by James S.A. Corey (Orbit Books). 2011. A high-stakes near-future space-colonizing conflict that brings strong female protagonists of varying cultural, ethnic and political influence into key roles as agents of change.
The 100 TV series by Jason Tothenberg. 2014. In this post-apocalyptic Earth adventure, several women protagonists share key roles in determining the fate of humanity in violent change.
The Expanse TV series by Mark Fergus and Hawk Ostby, Syfy. 2015. The exemplary TV series based on the James S.A. Corey 7-book series.
Missions TV series by Julien Lacombe, Ami Cohen, and Henri Debeurme. 2017. The protagonist of this space race to Mars is a psychologist, who discovers her bizarre and personal connection to Mars, which promises to affect humanity’s destiny.
The Beyond film by Hasraf Dulull. 2018. This near-future thriller about first contact, features several women in key positions as scientists and mission administrators who must solve a key mystery that explores the consequences of humanity’s fearful tendencies.

Other Relevant Articles of Interest from The Alien Next Door:

Riane Eisler (in The Chalice and the Blade) provides examples of sociobiologists who draw on nineteenth-century Darwinism by citing insect societies to support their androcratic (social and political rule by men) theories. If humanity is to truly rise victorious over the scourge of climate change—a function of our current lifestyle and paradigms—we will need to adopt a cultural evolution that embraces a partnership society heralded by new and renewed symbology, language and “myth”: It starts with embracing gylanic heroes in literature and movies. Watching them, reading about them, writing and sharing these stories for the future they speak to.

Nina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s recent book is the bilingual “La natura dell’acqua / The Way of Water” (Mincione Edizioni, Rome). Her latest “Water Is…” is currently an Amazon Bestseller and NY Times ‘year in reading’ choice of Margaret Atwood.

Women Heroes, Part 2: How Brienne of Tarth Saved “Game of Thrones”

March 6, 2015May 28, 2024 / thealiennextdoor / 4 Comments

I’ve been following the insanely popular—yet excruciatingly brutal—Game of Thrones for several seasons now. I must confess, partly because I don’t own or watch TV, that I am a little behind. I’m currently watching Season Four, while still metaphorically shaking in the violent wake of the shocking and brutal Red Wedding episode of Season Three. As the Internet buzz revealed, this was an extremely difficult show to watch for everyone. What was the purpose of its graphical brutality? Who needs to see that level of violence? I am reminded of an introductory scene in the show in which character John Snow counsels his little brother Bran to not avert his eyes when his father executes a deserter, by chopping off his head—an act that foreshadows his own decapitation later in the series. It is as though the producers of the show are counselling us in the same way as they subject us to grisly scene after grisly scene. Many cheap and gratuitous, as far as I am concerned.

The Red Wedding scene, in which several beloved characters are brutally slaughtered set into play a new set of rules for audience engagement: that of total distrust. Distrust in the storytellers (primarily in the producers of the show, whose scripts, I’m told, have deviated from the novels in some important ways). Distrust that creates an uneasy tension. Distrust that precipitates a panicked wish for clairvoyance. This is because we have no concept of fairness in the story; yet we’ve so invested in the characters. That is the storyteller’s worst act of cruelty: to hold us hostage to the characters. The rules of fair play in story have been broken. We’re stuck in a kind of free fall, desperately hoping that our beloved characters will make it through the night intact, if not unscathed. And when they don’t, its like watching our children die, as we stand powerless by.

Good fiction—as opposed to reality—tells a purposeful story. A story with fictional characters, who play a purposeful role. All good stories make a promise in the beginning; a promise they keep in the end. They create a covenant with their audience to participate in a fulfilling journey. This doesn’t have to mean a happy ending, but it does include meaning and fulfillment—even if only for its audience. And that must involve victory of sorts—and hope—whether it is through redemption, acceptance, enlightenment, or some change that gives us “more”—not less; something that allows us to prevail alongside.

If I feel that I am simply witnessing a cesspool of meaningless chaos and brutality, dominated by ruthless and insane people, in which heroes are equally powerless victims as they are true agents of change—with no rhyme or reason to tell the difference—then I must ask myself the question: why am I watching this? What does this story mean to me? I start to feel like a misanthropic voyeur, as perverse as Joffrey or Littlefinger as I watch people get tortured, flayed alive, dismembered, and worse… with no recourse. This is NOT entertainment and it certainly isn’t of any value to me. For such an offence to the senses to have value, there must be an element of—or at least a grain of hope of—prevailing and movement.

By Season Three end, both the series and I are feeling a little tired. And for good reason; most of the characters—the women particularly—are trapped in an incessant pattern of simple endurance. That seems to be all they are able to do: endure. Certainly they manage to act and create within their limited sphere of influence; but mostly to colour their position, not change it. So, we endure alongside; and we can endure only so much.

Then enter Brienne of Tarth. Also known as Maid of Truth.

And with her, a breath of much needed fresh air.

When Brienne was first introduced in “What is Dead May Never Die” in Season Two, she brought with her the anachronistic romanticism of a true knight. We first see her besting favored champion Ser Loras Tyrell (Knight of Flowers) in a tournament. When she presents herself to King Renly Baratheon and removes her helm, the crowd hushes in surprise. To his offer of prize, Brienne requests a place in his Kingsguard, which he gladly grants, despite her gender and lack of formal stature as a knight.

Brienne is the iconic knight of the chivalric sagas: noble, virtuous, compassionate and brave. Singularly honest and loyal. So much so that her contemporaries deride her as simple, naïve and stupid. As though embracing such virtues is outmoded, foolish and weak. That she is a woman—albeit tall, ungainly and considered unfeminine—makes her virtues all the more powerful and refreshing.

When King Renly is assassinated, Brienne swears fealty to Catelyn Stark and becomes her sworn sword. Catelyn charges Brienne to return her captive Jaime Lannister to King’s Landing to exchange him for her two daughters held hostage there. Their journey provides some of the best scenes of the TV series and some of the most fulfilling interactions. Throughout Jaime’s insufferable taunts about her appearance and likely dismal history with the opposite sex, Brienne remains stoically silent. Except when she speaks:

“All my life men like you’ve sneered at me, and all my life I’ve been knocking men like you into the dust.”—Brienne to Jaime Lannister, Game of Thrones

Essayist Brent Hartinger suggests that Brienne’s character is a well-written departure from fantasy novels where the main characters are commonly “the slender… average-heighted, the conventionally abled and traditionally gendered.”

Essayist Caroline Spector describes Brienne as a “study in heartbreaking contradictions. She embraces the romantic ideals of her culture, both emotionally and through her actions, but is continually betrayed by the real world simply because she cannot turn herself into the woman the Westerosi legends tell her she should be.”

By upholding her ideals of integrity, Brienne refuses to conform to the established cultural expectations. Her very nature—from physique to comportment to idealism—defies the notion in Westeros that women are to be taken or coerced, and meant to endure their lot; not be agents of their own change. Spector describes Brienne as a woman who has “taken for herself most of the attributes of male power.” She embodies “how women who dare to take male power for their own are judged and treated not only in Westeros but in all conventionally patriarchal societies.”

The journey of Brienne and Jaime is a fine tale of initial antagonism, discovery, surprising tenderness and ultimate friendship, based on honour and mutual respect. Throughout, Brienne defends and encourages a flagging Jaime and he, in turn, saves her on several occasions, culminating in his return to rescue her from a brutal death in the bearpit.

What makes “The Bear and the Maiden Fair”—or any other scene in which Brienne and Jaime appear—so pleasing? We witness in the interactions between them an evolution in character, great opportunities for learning and redemption, and finally the development of an iconic friendship based on respect and equality—something normally reserved for individuals of the same sex—that neither had previously enjoyed. Like two souls missing something, each is a gift to the other. And though delivered differently, it is the same for both: honour, self-respect and faith in humanity. And neither is the same for their interaction.

“The bathhouse had been thick with the steam rising off the water, and Jaime had come walking through that mist naked as his name day, looking half a corpse and half a god.”—George R.R. Martin, A Feast for Crows

Brienne is the catalyst hero. She gives us hope. She gives us hope to save the world. She does this through her influence on others. By shear strength of her genuine goodness, Brienne transforms, challenges, and supports. She is über-strong, yet vulnerable; which Jaime recognizes and appreciates as something truly beautiful. The reason he returns to save her in the bear pit.

“I am grateful, but… you were well away. Why come back?”

A dozen quips came to mind, each crueler than the one before, but Jaime only shrugged. “I dreamed of you,” he said.—George R.R. Martin, A Storm of Swords

Jaime slides back to his scoundrel-self once returned safely to King’s Landing and out of Brienne’s sphere of influence—and beneath the shadow of his overbearing father. He is a chameleon, a shape shifter, who struggles to lift himself out from the shadow of his soulless father. Despite some continued reprehensible behavior (particularly to do with his sister, with whom he had formed a perverse relationship), Brienne’s light of honour appears to burn inside him in some form. His actions—tasking her to find and secure Sansa’s safety and giving her his own sword—maintains their honour-bond. When he gives her his longsword, forged of Valyrian steel, he asks her to name it; showing the cooperative respect between the two. She chooses the name Oathkeeper, fulfilling again her role in their story.

In fact, Brienne’s story follows a more traditionally male narrative. Her quest is to save the beautiful maiden (Sansa), but not to marry her or benefit from the quest; it is simply to secure her safety. Feminist writer Rihannon tells us that this is a storyline that “the mother, the young girl and the shieldmaiden are all given equal weight and worth…She uses her strength and her skill to respect and help other women in ways that most men in Westeros would never even think to attempt, because she understands, more than any other knight, that women are truly worth something as individuals.”

Are other women of Westeros poised to rise as true agents of change and take command not only of their lives but to save the world? Daenerys Targaryen, the dragon mother, liberates slaves; courage and a sense of justice animates the independent Arya. And we’ll see what becomes of Brienne…and Jaime.

I will continue to watch this series with uneasy anticipation.

Nina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books.

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