Grimm’s Laissez-faire Attitude Toward Sexual Coercion

Anyone else still watching NBC’s Grimm? I’m only one episode behind on the current season, but I’m seriously thinking of giving it up entirely. What was once an interesting foray into the dark origins of fairy tales has become a tangle of dysfunctional relationships and plot lines so ridiculous that Rosalee just spent a whole episode voicing my own frustrations with “how/why is this happening?”

More upsetting than the devolving story line, though, is how they writers have been handling the question of rape. Even if you’re not watching Grimm, this discussion matters because the way our entertainment presents issues like sexual violence both reflects and influences prevailing culture.

Love In The Time Of Cookies

It all started way back in season one with the character Adalind. She’s a Hexenbeist (basically a witch). She’s a main antagonist in this first season, and uses her powers to force Hank to see her as a romantic option. He’s basically roofied via magical chocolate chip cookie, but it wasn’t addressed in the show as rape and I doubt the writers even thought of it that way.

This brings us to the first disturbing idea that Grimm keeps coming back to, perpetuating the myth that adult men can’t be victims of rape. Hank wasn’t a victim — he was just a guy who accidentally had sex with someone he didn’t want to. No big deal (never mind that she drugged him and nearly killed him). We wouldn’t overlook this if the characters’ genders were reversed, so why the double-standard?

English and Welsh law didn’t recognize male rape as a crime until 1994. The United States was even farther behind — the FBI’s definition of rape didn’t include male victims until early 2012. I suppose it’s not surprising, then, that the statistics I could find related to male rape were UK-based. Crime reports for 2014 in England & Wales record 3,580 sexual assaults against men. Survivors UK (a male-only support group) estimates that only 2-3% of assaults are actually reported (compared to 10-12% for women). And yet society doesn’t treat it as a problem — Survivors UK had their funding cut completely last year, and most rape hotlines won’t even talk to men. No wonder Hank didn’t want to claim his coerced relationship with Adalind was rape.

It’s Okay If She’s A Witch

Adalind’s actions with Hank are played-off as unwanted sexual aggression rather than an attack, but apparently it’s enough to justify writing her comeuppance as an assault scene. Since the blood of a Grimm can strip a Hexenbeist of her powers, Nick attacks her, pins her to the ground, climbs on top of her, and kisses her so she’ll bite his lip. There’s really no way not to interpret this imagery as sexual. Charity has written an excellent article titled “A Grimm Look at Writers’ Impact on Rape Culture” that addresses this scene in-depth, as well as the after-math that continues comparing Adalind to a rape victim.

The disturbing part about this scene isn’t so much that it’s played as a sexual assault, but rather that no one has a problem with that. This perpetuates the myth that sexually aggressive women are asking for (or even deserve) sexual assault. Nick is the good guy, the hero, and that didn’t change for most viewers after he attacked Adalind. But other people’s bad actions shouldn’t justify “good” people committing unconscionable acts.

Baby Makes It Better

Skip ahead to the end of season three. Adalind has her Hexenbeist powers back, and she hatches a plan to take Nick’s powers away. Much like ingesting a Grimm’s blood can take away Hexenbeist powers, sleeping with a Hexenbeist takes away a Grimm’s abilities to detect Wessen. Adalind uses magic to disguise herself as Nick’s love interest, Juliette, and he sleeps with her. While Adalind doesn’t violently assault him, here’s no denying Nick was coerced into having sex with someone he would have turned down if given a choice. Doesn’t that make it rape?

Now in season 5, Nick is living with Adalind and the child she conceived as a result of her impersonating Juliette. Can you imagine this in reverse? No one asks a woman to move in with a man she wouldn’t have consented to have sex with just because the resulting child needs a father. If someone did write that situation, you can bet there’d be other characters in the show discouraging her from living with her rapist. In Nick and Adalind’s case, however, the farthest any character will go is describing it as “weird.” The writers don’t see their past relationship as rape (see first myth) and, if the number of Nick/Adalind shippers online is any indication, neither do most fans.

I was going to have a “myth” listed for each section, but it doesn’t really work here — no one actually thinks you should move-in with your rapist if there’s a child! It’s insane. And yet, I saw someone online arguing that Nick and Adalind’s relationship is a relatable and realistic portrayal of modern adults in a co-parenting situation after an unexpected pregnancy. I suppose this is what happens when you live in a culture that’s adopted an anything goes (except abstinence) attitude toward sex. The more taboos we tear down, the easier it is to skirt around the ones that remain.

 

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Hiatus

EDIT: oops — I accidentally scheduled two posts for today instead of an edited version of this one for next Monday (here’s the post meant for today). Oh well. I guess you just get two today 🙂

I’m experiencing an absence of blogging ideas today, so I decided to write about another absence that has showed up in my life recently — new TV episodes to watch. Every show I like is now 1) cancelled or 2) on hiatus.

  • Almost Human — cancelled (not that I was shocked Fox cancelled a sci-fi show I liked after only 13 episodes …)
  • Doctor Who — back in August (new trailer!)
  • Downton Abbey — season 5 is filming
  • Grimm — on hiatus, but renewed
  • Falling Skies — back on June 22
  • NCIS: Los Angeles — on hiatus, but renewed
  • Sherlock — who knows. (BBC wanted a 2014 Christmas special, but there’s scheduling conflicts. Could be years. In other news, the phrase “hiatus intensifies” has come back to Pinterest and Tumbler)
  • White Collar — cancelled, but at least we get a 6-episode final season

Agents of S.H.I.E.L.D is on hiatus, too, but there are episodes I haven’t watched yet and I still haven’t decided if I like that show or not. It’s been renewed, though, so I’ll have a second season to make up my mind, if need be.

This lack of new episodes isn’t all bad, though — I’ve read a mountain of books. The latest 5 are were Rebecca by Daphne Du Maurier, Enchantment by Orson Scott Card, Chalice by Robin McKinley,  The House At Riverton by Kate Morton, and  Shadows by Robin McKinley. I’m currently re-reading The Hobbit, and I picked up four more at the library on Friday, all young adult novels. I’m calling it “researching the target audience” for my novels.

 

 

Dark Fairy Tales

I recently started watching the TV show Grimm. I’m still about a season-and-a-half behind, but catching up pretty quickly (no spoilers if you’ve watched more than me!).  For those who aren’t familiar with the show, it’s about a homicide detective named Nick who recently inherited his family’s gift for seeing strange creatures known as Wesen. Together with his detective partner, his girlfriend, and a reformed Blutbot (aka “the big bad wolf”), Nick discovers that a surprisingly high number of Wesen happen to commit crimes in Portland, Oregon (seriously, are there no human criminals?)

The thing that makes Grimm different from other crime dramas, and what initially attracted me to the show, is the folkloric element. The stories are loosely based on fairy tales and myths from a variety of cultures, most notably those collected by Jacob and Wilhelm Grimm. Each episode uses elements of an original legend, but changes the plot. Another “change” that has been made is that Grimm is much darker than the popular idea of fairy tales as Disney princess stories.

I say “change” in quotation marks because the fairy tales most of us grew up with are MUCH tamer than the original versions (or, more accurately, the earliest versions we have written down). Yet many people assume fairy tales started out innocent and have been corrupted by our modern culture. Take this quote from Plugged In Online’s review of Snow White and the Huntsman, for instance.

I’ve always liked fairy tales, whether in cartoony-flick or storybook-for-the-kids form. But it appears that those “once upon a time” sweet and innocent versions don’t often make the grade nowadays. Today’s reimaginings usually have to come with a bit more bite.

The trend with today’s versions of fairy tales, including Grimm, isn’t so much making the stories darker as it is returning to fairy tales’ darker roots. Even the fairy tales we consider “sweet and innocent” used to have a darker side. Cinderella’s step sisters cut off their toes and heels to fit into the glass slipper. The Little Mermaid’s prince marries someone else and she considers murdering him, but dies instead. And I’m not even going to talk about Sleeping Beauty and Rapunzel.

Why read/watch "Dark Fairy Tales" marissabaker.wordpress.com
background image of Dunnottar Castle

Don’t misunderstand me — I love Disney films. And they can get pretty dark, at least so far as the villain is concerned. But I love the older versions as well. I wouldn’t read all of them to a young child, but it is possible to shelter children too much (see my previous post where I talk about banning fairy tales). And there is certainly no reason not to read fairy tales as an adult. In the words of C.S. Lewis,

When I was ten, I read fairy tales in secret and would have been ashamed if I had been found doing so. Now that I am fifty, I read them openly. When I became a man I put away childish things, including the fear of childishness and the desire to be very grown up.

Lewis also said, to those who think fairy tales belong in the nursery,  “Some day you will be old enough to start reading fairy tales again.” My own fairy tale reading did not begin in earnest until I had graduated high school, so I suppose by this definition the more fairy tales I read, the more grown-up I get.