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TW: mentions of rape, child rape, racism, and misogynoir.
Alice Walker’s novel The Color Purple is a story loved around the world. So, when I saw that it was adapted to stage and touring the UK, my interest was peaked just enough to consider a visit to my local theatre the Royal & Derngate in Northampton. A Curve and Birmingham Hippodrome co-production, it came to Northampton in the first week of October. Largely, audiences that frequent my local theatre are overwhelmingly white – thus, watching The Color Purple it was a joy to my heart to hear Black people in my community engaging with the arts, because the last time I heard so many Black people attended, was for Our Lady of Kibeho as part of the R&D’s Made in Northampton season. This dates back to 2019, a production I reviewed for The Nenequirer showing that Northampton(shire) arts has work to do.
Social media platforms like Twitter and Instagram showed me the pretty unanimous positive praise for the Leicester-Birmingham co-production, while local critics also enjoyed it – including reviews from The Chronicle & Echo and The Nenequirer as well as further reviews by The Real Chris Sparkle and Northampton Town Centre BID. However, there were elements of the show that caused me great distress, no less than the perpetuation of misogynoir and racist stereotypes against Black men. It was deeply triggering, showing how historical trauma and vicarious trauma are ever present, including when white organisations have not done the work of protecting Black mental health when producing “Black-centred media.”
At the head of this cast, Me’sha Bryan gives a knockout performance as Celie (previous played by Whoopi Goldberg in the film) accompanied by Aaliya Zhané as Nettie, with Bree Smith as Shug Avery, and brilliant musical numbers grounded in the traditions of blues music that finds its origins in the trauma of enslaved Africans in the American South. They sang when “they got the blues” … and as far as performance and the commitment from the cast, I couldn’t ask for better.
However, whilst I have praised the musical numbers above, I did not believe it fitted with the tones of The Color Purple curating a rift between what the actors were saying and doing on stage, and the intonations of the music – as well as the lighting design. And despite the directorial position deciding the rape of a child wasn’t musical material (rightly so), the choice to have it as a passing detail with no further discussion, I found particularly off-key. This is one of the moments that highlights that The Color Purple may not have been musical material and better considered as a serious drama. I did not walk away feeling that bleak, much ado with contradictory lighting choices to character moods. The characters were feeling one away and lights did something else. By the by, rather than skip over the rape to maintain “the musicalness”, it may have been more effective to have done this story as a stage drama (with musical elements, if at all). The horrors depicted at the beginning of the novel are pretty nonexistent in musical.
So, this recent adaptation was a disappointment. Not from an acting point of view but behind-the-scenes pre-production elements like direction. The start of story includes a fourteen year-old who births two children after being raped by her father. So, the amount of trauma that exists around child sexual abuse and rape appear unconsidered when they glossed over these parts of the story. Furthermore, I do question if they consulted with any survivors when doing research for this adaptation. A ‘sensitivity consultant’ would not have gone amiss either, further to considerations of intersectionality and how cultural nuances in global, but still different Black communities, will be interpreted by white people, especially in provincial Little England.
Blown away by the musical abilities of the cast, stage productions (like much art) are often labelled as “escapist” so is not afforded the same criticality as for example – policing, education, sport and so on – we are all guilty of this and we can do better. This may be art; there were no redeeming Black characters, and Black men calling Black women “ugly” (written into the script) in full face of a white audience is cultural violence. In Northampton, the large white audience laughed at this example of ableist misogynoir, and in many ways this production felt to be played up for white audiences. Lots of white people are not used to seeing Black people as full human beings, and I do feel the play draws out our humanity. And by proxy centres white comfort with a Black aesthetic reinforced by white supremacy in media.
Disability justice activist Talia Lewis has released definitions of ableism every year since 2019. In January 2022, she discussed ableism as a violent social discourse that values people’s bodies and minds according to societally constructed ideas of “normalcy, productivity, desirability, intelligence, excellence and fitness …” Lewis (2022) states that these ideas are embedded in other violent discourses such as eugenics, capitalism, misogyny and white supremacy. The adaptation of these characters is only part of this debate, where another part may want to consider how this play has informed everpresent white superemacism pervasive across Northamptonnshire. It may impact how local white audiences may view Black people when they perceive that in this cultural text – ‘this is how Black people talk and act around each other.’
“This systemic oppression leads to people and society determining people’s value based on their culture, age, language, appearance, religion, birth or living place, “health/wellness”, and/or their ability to satisfactory re/produce, “excel” and “behave.” You do not have to be disabled to experience ableism.”Talia Lewis (2022)
In Homegrown (hooks and Mesa-Bains, 2017), bell hooks tell us “We have to constantly critique imperialist white supremacist patriarchal culture because it is so normalized by mass media and rendered unproblematic. The products of mass media offer the tools of the new pedagogy.” Theatre is no different to films, literature or television programmes. Watching the musical, it struck me how the numbers of people who haven’t done the work of unlearning their own white supremacy would be impacted by such an adaptation (yes, as we know all humans can reproduce these isms but in a global western context, however, white supremacy has put white people on the top of that racial hierarchy).
One instance of misogynoir and ableism was underpinned by the three Black women singers (their character names escape me) who were written as Sassy Black Women inherently “comedifying” Black womanhood. Brilliant singers, but were written lazily reinforcing a damaging cultural media narrative that diminishes the three-dimensional personhoods of Black women. This was offered with no alternative. The Hypersexual Jezebel (named after the “sinful” Biblical character) appears in numbers of characters while Sofia was written as the Strong Black Woman. Black men were then written as violent, comedic relief, illiterate, and other harmful stereotypes, and domestic abuser Mr Albert is redeemed to the sound of musical harmonies and joyful lighting.
At a Northampton level, the critics from local media revisited a culture of uncritically discussing art. Stories aren’t just stories but a product of the society that created them, and we are a society that finds it easier to challenge the criminal justice system than it does liberal arts institutions, in spite of both having a say in how Black people are viewed and treated. Despite “Black theatre” not being genre, we need more shows at the Derngate that centre Blackness in Britain. And whilst commissioning and hosting shows about ‘Black issues’ is not evidence of an anti-racist commitment, it would be nice to see more shows locally about Black people in the UK by Black people.
When we do get “Black stories”, they so often centre the US, most recently The Color Purple (Oct, 2022) and Two Trains Running (Sept, 2019) – denying local audiences a context for Blackness within the United Kingdom, while recentring American Blacknesses is gaslighting through art. In November, Dreamgirls centring American Blackness is coming to the Derngate. A co-production between The Curve and the Birmingham Hippodrome, this adaptation of The Color Purple was deeply problematic on many levels that local white critics may not have picked up on because of their whiteness – drawn in by a spectacle of a “Black show”, viewed through a white gaze that is unused to talking about white supremacy as a political structure.
The white audience for these misogynoir tropes specifically – largely one of laughter – reminded me of the white gaze, with white laughter as eased white supremacy. Whiteness continues to pervade through ‘acceptable racism’ where serious digs made at Black people in-text laughed at by white people may show how white people may think about Black people in designated white spaces. A Black man seriously calling a Black woman ugly and a white audience laughing at that is incredibly revealing – a comfortableness in spaces coded as white … and how white people may act when thinking and talking about Black people in private (i.e in spaces coded as culturally white and desgined to their comfort).
“I grew up in a culture of bantering and, ngl, I love a caustic riposte. And while in certain ways I resent the current policing of language, there is a distinction. I hate to break it to you, but a “joke” in which the gag is that the person is black isn’t a joke, it’s just racism disguised as humor. A joke told to a white audience where the punch line is a racist stereotype isn’t a joke, again it’s just racism; if there is only one black person present, it’s also cowardly and it’s bullying. Jokes of this nature probably aren’t funny for black people.”Emma Dabiri (2021: 98)
Art imitating life is one thing, but when life imitates art is another. White laughter at Black people in cultural media texts goes back to the days when blackface was on the BBC (until 1978). To see this platformed by a local arts institution then profiting from it, is revealing of how whiteness is performed and profited from, when white people think they’re not being watched. Creatives have a responsibility and so do those institutions that platform them.
Myself and fellow blogger @haleysread discuss this further in our prior entries about the scandal surrounding Jimmy Carr and Netflix. On that October evening, being one of the few Black people in the audience, it was incredibly uncomfortable. To consider art uncritically is to be entertained from a vantage point of privilege (or ignorance). Attending with my friend, to see unanimous positive feedback from the public made us feel a way, no less than from many Black people. We must always be critical; being critical is not the same as criticising, and those who are critical only take the time to be so because we care.
It is not about individual actors but about the lack of critique of institutional platforming in producing “art” that goes on to cause harm. Another fellow blogger Stephanie @svr2727 talked about misogynoir and the media in her recent webinar with the Criminology Team and Black Criminology Network. Violent mistakes in arts productions show a need not for more historical consultants, but sensitivity readers and empathy viewers. One cannot teach empathy, you either have it or you do not. Extending this gaze to screen media texts as well like Bridgerton and others, it is a further reminder that social scientists are needed at the very top of media … especially those of us that research about race, racism, and other forms of violence.
These cultural texts are rehearsed, edited, and considered by multiple hands before any public audience sees them. So, why are we still having to challenge? Simple: misogynoir, ableism, and whiteness are institutionalised and normalised socially and culturally into our day-to-day practice. No less than in “liberal” arts institutions.
“Nothing but a circus, with clowns and all.” – Malcolm X
The knife was raised for the first time, and it went down plunging into naked flesh; a spring of blood flowed cascading and covering all in red. The motion was repeated several times. Abel fell to his death and according to scriptures this was the first crime. Cain who wielded the knife roamed the earth until his demise. The fratricide that was committed was the first recorded murder and the very first crime. A colleague tried to be smart and pointed that the first crime is Eve’s violation in the garden with the apple, but I did point out that according to Helena Kennedy QC, she was framed! In the least Eve’s was a case of entrapment which is criminological but leaves the first crime vacant. So, murder it is! A crime of violence that separates aggressor and victim.
The response to this crime is retribution. In the scriptures a condemnation to insanity. In later years this crime formed the basis of the Mosaic Law inclusive of the 10 commandments and death as the indicative punishment. In the Ancien Régime the punishment became a spectacle on deterrence whilst the crowds denounced the evildoer as they were wheeled into the square! In modern times this criminality incorporated rehabilitation to offer the opportunity for the criminal to repent and make amends.
‘The first man who having enclosed a piece of ground bethought himself of saying “This is mine”’! This is an alternative interpretation of the first crime, according to Jean-Jacques Rousseau (1762/1993: 192). In The Social Contract he identifies the first crime very differently from the scriptures. In this case the crime is not directed at a person but the wider community. The usurping of land or good in any manner that violates the rights of others is crime because it places individualism ahead of the common good. As in this crime there is no violence against the person, the way in which we respond to it is different. Imperialism as a historical mechanism accepts the infringement of property, rights, and human rights as a necessity in human interactions. The law here is primarily protected for the one who claims the land rather than those who have been left homeless. In this case, crime is associated with all those mechanisms that protect privilege and property. Soon after titles of land emerged and thereafter titles of people owning other people follow. The land becomes an empire, and the empire allows a man and his regime to set the laws to protect him and his interests. Traditionally empires change from territories of land to centres of government and control of people. The land of the English, the land of the Finnish, the land of the Zulu. In this instance the King become a figure and custom law subverts natural law to accommodate authority and power.
These two “original” crimes represent the diversity in which criminology can be seen; one end is the interpersonal psychological rendition of criminality based on the brutality of violence whilst on the other end is an exploration of wider structural issues and the institutional violence they incorporate. The spectrum of variety criminology offers is a curse and a blessing in one. From one end, it makes the discipline difficult to specify, but it also allows colleagues to explore so many different issues. Regardless of the type of crime category for any person attracted to the discipline there is a criminology for all.
Between these two polar apart approaches, it is interesting to note their interaction. In that it can be seen the interaction of the social and historical priorities of crime given at any given time. This historical positivism of identifying milestones of progression is an important source of understanding the evolution of social progression and movements. Let’s face it, crime is a social construct and as such regardless of the perspective is indicative of the way society prioritises perceptions of deviance.
Arguably the crimes described previously denote different schools of thought and of course the many different perspectives of criminology. A perfectly contorted discipline that not only adapts following the evolution of crime but also theorises criminality in our society. When you are asked to describe criminology, numerous associations come to mind, “the study of crime and criminality” the “discipline of criminal behaviours” “the social construction of crime” “the historical and philosophical understanding of crime in society across time” “the representation of criminals, victims, and agents in society”. These are just a few ways to explain criminology. In this entry we explore the origins of two perspectives; theology and sociology; image that the discipline is influenced by many other perspectives; so consider their “origin” story. How different the first crime can be from say a psychological or a biological perspective. The origins of criminology is an ongoing tale of fascinating specialisms.
Rousseau, Jean-Jacques, (1762/1993), The Social Contract and Discourses, tr. from the French by G.D.H. Cole, (London: Everyman’s Library)
Once Gypsy Roma and Traveller (GRT) history month commences Gypsy and Traveller histories are largely ignored. This is on par with the the erasure of GRT history and contemporary culture within mainstream Britain. Given this, I was surprised that the very popular Peaky Blinders starred Birmingham based main characters and their families who appear to be Brummies, of Romany, Gypsy and Irish Traveller heritage.
In many ways representation within Peaky Blinders is problematic, it is typical that once GRT people appear as main characters their lifestyles are associated with gangs, sex and violence. But there are a lot of positives, the episodes are filled with fabulous costumes, interesting characters, plots, settings and music. There is certainly a lot of pride that comes with the representation of Birmingham based lives of mixed heritage Gypsy and Traveller families on screen.
Peaky Blinders is set in a time era which is just after WWI and appears to end in the 1930s. Whilst the series is fictional, there are many parallels that can be drawn between the lives of the fictional main character Tommy Shelby and his family and the real-life lived histories of Gypsy and Traveller people.
Peaky Blinders does well to de-mythisise the assumption that Gypsy and Traveller people do not mix with gorgers and do not participate within mainstream society. To illustrate, Tommy and his brother’s fought in WWI and experienced the damaging aftereffects of war participation. In reality, despite previously being subjected to British colonial practices and being treated with distain by the State many British Gypsy and Traveller people would have had no choice but to fight in this war due to conscription. Many would have lost their lives because of this.
Note that Tommy’s family mostly lived within housing and were working within mainstream industrial society. In reality, in industrial cities like Birmimgham many nomadic Gypsy and Traveller lifestyles would have been under threat due to land purchases made by gorgers for the purpose of building factories and housing (Green, 2009). Upon purchase of this land nomadic groups would be evicted from it, this would have left many homeless, with the increased the pressure to assimilate. This would result in work life changes, hence, Gypsy and Traveller people worked alongside gorgers in factories, where the pay and conditions would have been poor (Green, 2009).
Just like prejudice in reality, even when living within housing Tommy and his family experience prejudice from within and outside of their own community. Tommy is referred to as a ‘dirty didicoi’ seemingly due to the perception of his mixed heritage and not being of ‘full-blooded’ Gypsy stock. In response to an anti-gypsy slur Tommy mocks stereotypes by stating that as well as his day job he ‘also sells pegs and tells fortunes’.
Towards the end of Peaky Blinders the promotion of fascism by elite figures is central to the storyline. Just as in reality, there was the development of the British Union of Fascists political party. Prejudice and fascist ideas contributed to categorising Gypsys as an inferior race. Whilst Peaky Blinders ends before WWII it is harrowing to know that these ideas influenced the extermination of Roma and Gypsies during the Nazi regime. Many British Gypsy and Traveller soldiers lives would have also been lost in fighting the Nazi’s in WWII due to this.
It is unfortunate that the women have less screen time in Peaky Blinders, but their personalities did shine. Ada’s character and response to prejudice is ace, whether this is responding to street hecklers, an elite eugenicist women’s ethnic cleansing ideas, or her son’s prejudice towards his sister. When her son refers to his sister as a ‘thing’ and states that she would ‘get them killed’ as she was a Black-mixed race child she responds by stating, ‘where will they send you Karl?’ whilst making him aware that he could also be subjected to persecution due to having a Jewish father and a Gypsy mother.
This year marks the end of Peaky Blinder’s episodes, the last episode is great. Tommy returns to his roots – choosing to end his days with his horse, wagon and photographs of his family. But he then wins against all the odds! Unfortunately, whilst Peaky Blinders has been celebrated there is less celebration of Gypsy and Traveller ethnicities, these were completely ignored within the documentary The Real Peaky Blinders.
Through whitewashing Gypsy and Traveller peoples histories are frequently denied. To adapt David Olusoga’s words, ‘[Gypsy and Traveller] history is British history’. An awareness of Roma Gypsy and Traveller history should not only reside with Gypsies and Travellers alone, or exist at the margins, as these are connected to all of us. As Taylor and Hinks (2021) indicate, if there is increased awareness that past and present themes of percecution this might enable increased support for Gypsy, Roma and Traveller rights – this is vital.
Olusoga, D. (2016) Black and British: A forgotten History, BBC [online].
Taylor, B. and Hinks, J., (2021). What field? Where? Bringing Gypsy, Roma and Traveller History into View. Cultural and social history, 18(5), pp.629–650.
The first of April has consisted of a steep 54% rise in what energy company’s can charge customers for using energy, with further rises set to occur in October. This coincides with rises to other bills such as council tax, national insurance and water within a climate of inflation. Previous to this many were struggling to make ends meet…what are these people supposed to do now?
Russia’s atrocities and Covid-19 have been blamed for the steep price increases and inflation. I suspect that employers will be using this as a reason to not increase the persistent low rises in wages that workers are receiving, all whilst their bosses are becoming richer and richer. Of course, both Russia and Covid will have a significant impact on the economy, however, it does not take a genius to be aware that people have been struggling to survive well before this, hence terms like, food poverty, period poverty and fuel poverty predate these issues. Also, so do the persistent low rises in wages for workers.
Apparently, MPs are due a £2,200 pay rise which whilst it seems low (2.7%) compared to inflation, a few MPs themselves (such as Zarah Sultana) have stated that they do not need this pay rise as they already receive a high paying wage.
Oh, and let us not forget that the increasing energy prices will ensure that privatised fuel companies such as Shell and BP continue to profit, with a predicted profit of £40 BILLION for this year.
Meanwhile benefits for those who are not formally employed and spend a higher proportion of money on household bills and rent are set to increase by 3.1% – a rise which will not cover these price increases.
How is it that employers and the State cannot afford to pay people more – but can ensure high wages for the already rich, privileged and powerful?
It is not surprising that the government’s measures to deal with the problem, such as one-off payments and energy loans, have been heavily criticised as inadequate and significantly failing to support the lowest income homes. The government employs a group of elites and many are completely out of touch with reality. Apparently the man presiding over these measures, millionaire Rishi Sunak and his billionaire wife, often donate to charitable causes, such as donating £100,000 to Rishi’s former elitist private school. Because a private school in need is a pressing cause…yeah right!
The opposition parties have rightly criticised the Conservatives take on this but listening to Keir Starmer’s bumbling take on what Labour would do to solve these issues is also worrying. During an interview he stated that windfall tax could be a solution ‘for right now’ with no feasible long term plan. My usual vote for Labour in May will be damage control against more Tory time in power.
A long term TAX on THE RICH to use this money to support those that need it is not even that simple, given that the government accepts donations from the super-rich it is unlikely that decisions would be made to genuinely reduce inequality between the rich and poor. The world will never be a better place if those in power continue to focus on their own interests and huge profits in place of looking after people. The rise in energy prices on the first of this month was no April Fools’ joke…I really wish that it was.
Jimmy Carr’s Dark Material stand-up comedy is the latest in a long line of everyday racism that has been subjected to a trial by Twitter. The context in which the joke is told is as follows:
A wealthy white gorger man mocks Roma and Sinti people because of who they are. His mostly white gorger audience than laughs and finds this hilarious. This man’s stand-up is so successful that it is endorsed by Netflix, of which the CEO appears to be a rich white gorger man. Both Jimmy Carr and Netflix profit from dehumanising a marginalised group of people.
If the joke had been delivered to audiences which were predominantly Gypsy Roma and Traveller people this would not have been viewed as funny. To adapt Emma Dabiri’s (2021, p. 98) work, ‘a ‘joke’ in which the gag is that the person is [a Gypsy, Roma or Traveller] isn’t a joke, it’s just racism disguised as humour’ (2021, p. 98).
Carr’s joke should not be surprising as he prides himself on his use of homophobic, racist and misogynistic ‘career ending’ jokes and these jokes are enjoyed by many.
The anti-racist Twitter reactions to this joke could provide some hope that many people are becoming more willing to challenge racism. Some Tweets were aimed at increasing the awareness and calling-out racism. Many Tweets were kind, and others were asking for Jimmy to provide a genuine apology. Although, Carr’s words (plus the support of the audience and Netflix) are a symptom of a racist society, so does the focus on Carr’s interpersonal actions mean that people are being distracted from the broader structural issues of racism and white supremacy?
After scrolling though Twitter there was a clear divide between those claiming to be ‘anti-racist’ and those claiming that ‘the freedom of speech’ is more important than combating racism. This left me thinking,
How do we get to a point where people are willing to recognise that oppressive systems impact us all, but differently, in some way shape or form?
How could people be encouraged to fight against unequal and damaging systems in a way that encourages social change and forgiveness rather than hate and division?
It seems that online activism might be useful for raising awareness and giving voices to those pushed out of mainstream media. However, if focused on just ‘calling out’ individual acts of racism whilst online there is a danger of being caught up in an online culture war and not actually doing much to change structural issues in the offline world.
Whilst the Jimmy Carr Twitter debates continue, the Police, Crime, Sentencing and Courts Bill which could further damage Gypsy Roma and Traveller lives is in the final stages of Bill passage. As well as this, inequality and misery is set to become further entrenched with the impending surge in energy bills. All of this is thanks to a government which is a mess, corrupt and devoid of any sense of morality. Even so, maybe Jimmy Carr should stick to making jokes about his own experiences of upper class tax avoidance next time.
Note: Thank you to Emma Dabiri’s What White People Can Do Next (2021) for helping me to articulte my frustrations with online Twitter debates.
Last week featured my first weekend of rest in a long time and I was desperate to do nothing. In conversation with a friend I mentioned that I had not binge-watched anything in a long time and she suggested The Maid (streaming on Netflix) with a warning that it was brilliant but that I might find it traumatic. I consumed the entire season over the weekend, even after I messaged said friend to inform her after episode two that it was a difficult watch and I would need a break. I did not take a break and powered through. If you have ever been through, witnessed or supported someone through abuse, this will be a difficult watch but I also found it quite therapeutic because it was realistic.
The series is about domestic abuse and focuses on emotional abuse, addressing some of the stigma and contested victimhood of those who suffer non-physical abuse. Although based in the US, it addresses the lack of recognition in the legal system for abusive relationships that do not feature physical violence. The show highlighted that many in society do not recognise non-physical domestic abuse as ‘real’ or ‘enough’, and for a while the female lead (Alex) herself did not perceive herself to be victimised enough to warrant support from a refuge or seek help from the police. She later moves through her denial after getting flashbacks as a symptom of PTSD. She realised that having witnessed her father perpetrate violence towards her mother as a child, her daughter was now impacted in exactly the same way, despite this ‘lesser’ form of abuse.
Much of the series showed the struggles of single mothers leaving abusive relationships, often with nothing but the clothes on their backs. Forcibly displaced, they slowly try to rebuild their lives, applying for state benefits, social housing and childcare. Alex quickly finds a job and still finds it difficult to find a place to live because she needs state support to supplement her rent and deposit. There are few landlords who accept tenants receiving state support, both in the US and the UK. She is repeatedly facing the barriers of an unjust system, stacked against her because of the type of victimisation she suffered.
While facing structural barriers, the maid found help in the most unlikely people: women in the shelter, a social worker helping her to fight the system, a wealthy woman she worked for. Her relationships changed with some people to access support. She was forced to seek help from her father and another male friend when she was left homeless which had difficult gendered dynamics. The father had been abusive to her mother and when she recalled this, it caused conflict in her relationship and she left his home, despite this leaving her homeless once again. Her male friend appeared to be helpful and kind but did so with the expectation she would start a relationship with him and when this did not materialise she was again asked to leave with nowhere to go so she returns to her ex-partner.
The maid does not as much get back into a relationship with him than coexists with him. The relationship he thinks they have is not what her reality is. He thinks she has come home, she is there because she is homeless with nowhere else to go. They live parallel lives. After returning to the ‘family home’, Alex falls into depression and suffers PTSD. Some of the imagery here is intense. In one scene the sofa swallows her up, as if she wished to sink into the cracks of the furniture, not wanting to be seen, wanting to escape but with no means to flee or places to flee to. In other scenes, she tries to go for a walk in the forest, but the trees close in around her, visually representing the isolation her abuser has forced upon her.
My main criticism is in the final episode when Sean tells the maid he will get sober but getting sober will not fix this. Alcohol is not the problem. He was abusive during his sober phases. Quitting alcohol does not transplant men’s attitudes, values and beliefs towards women. Being sober does not remove the need for abusive men to control women. This sends the wrong message to the audience, and it is a dangerous message to send. I would have liked to see the series end with Sean admitting he was a controlling, abusive man and that he would get help for this. Instead he blamed his behaviour on alcohol.
I’m going to play the tape forward and imagine a season 2 because I have witnessed this scenario a few times over the years. He cleans up, gets sober and appears to look like he is doing well. He may have been to rehab or AA where he was taught that he probably should not punch walls or throw objects at people’s heads. He gets in a new relationship and it looks like all is well for a while but he still has not admitted or addressed why he was abusive so his behaviours are there, they are just more subtle. He gaslights, manipulates, controls. But he isn’t outwardly aggressive so he gets away with it for a while. Until he doesn’t.