Finding "the meaning" to a show that could have had up to five or seven seasons but was cancelled after the second is somewhat like trying to understand a novel composed of seventy chapters by having read only twenty — there is a whole wealth of information which we do not possess that could alter our reading of any given element or of the entire thing in itself.
Still, there are always patterns that weave a story into a cohesive unit and they can help us to better grope in darkness towards comprehension. One such pattern in Warrior Nun appears to be how the consequences to mistakes, "sins" or evil deeds committed by characters manifest.
Basic storytelling usually requires characters to act on something so that complications or resolutions may arise from their choices and move the plot forwards. In Warrior Nun, many of these actions are quite tragic in nature: Suzanne's arrogance and pride lead to the death of her Mother Superion; Vincent's allegiance to the higher power he believed Adriel to be inspired him to kill Shannon; Ava's flight from the Cat's Cradle ends up damning Lilith as she is mortally wounded and taken away by a tarask... All of these events have negative outcomes and heavy repercussions on all characters directly or indirectly involved. Something changes permanently because of them, be it in the world around them or within the characters themselves.
And yet, it would seem that all of these dark deeds not only move the story forwards but might also have overall positive results. We would have had no protagonist without Ava — and she would arguably never have received the halo to begin with had she not been murdered. What's more, on a personal scale, the horrifying crime she suffers is, in the end, the very thing that allows her a second chance in life, a new life.
An act of outside evil permits Ava to grow and develop, shows her a path she would not otherwise have found. Without her own season in some sort of hell, Lilith would not have been able to advance towards other ways of being and understanding beyond her very strict limitations. Vincent and Suzanne would not have embarked on their own journeys of enlightenment without having caused the pain they are responsible for.
Beatrice might have been paying for someone else's mistakes, but she, too, is given the chance to grow into herself through it. The afflictions that torment these characters advance the overall plot, but they also advance them, as individuals, as long as they are willing to learn and keep going despite the calamities large and small that they are faced with. Beatrice keeps going after parental rejection, Mary keeps going after losing Shannon, Jillian keeps going after losing her son (in part through her own actions, adding insult to injury)... Trouble and the adaptation that follows it, if one is open enough to learn from the experience, motivates the characters, propels them forward, teaches them.
The problem of evil has occupied the minds of many a thinker throughout the ages, given how the very existence of it, evil, might call into question that of God (a good, omniscient, omnipotent one, anyway). A common way of justifying suffering (and also God), then, is by claiming, as Saint Augustine, that "God judged it better to bring good out of evil than not to permit any evil to exist".
Now, it would be rather ridiculous to say of Warrior Nun that it follows in Leibniz's footsteps, also because this philosopher, expanding on the augustinian concept, attempted to defend the goodness of a real God with his "best of all possible worlds" while all we have is... Well, whatever/whoever Reya is.
But there seems to be an inclination towards some sort of optimism as a worldview nonetheless.
Betrayals reveal truth and grant knowledge (Vincent's culminates with the coming of Adriel, which allows us to know of the threat of a "Holy War" and thus prepare for it; Kristian's gives Jillian much needed insight, William's lights up the fuse for the fight to be taken more seriously...), crimes committed willingly or not open the way for Ava (Suzanne's killing of her Mother Superion causes the loss of the halo, which is transferred to Shannon, whose death opens the gates for Ava to walk through after being herself murdered by sister Frances)... The magnitude of these positive outcomes is perhaps not "balanced" when compared to the evil that brings them about, but there is still something to take out of the catastrophe.
However tragic the tones of a given event, the show itself appears to shun the predetermination that makes tragedy as a genre; if everything is connected, here it at least appears to not necessarily drag everyone into their horrible dooms.
What's more is that this lurking "optimism" matches really well with our own protagonist's personality.
And it makes perfect sense that Ava would do the best she could with whatever she is given.
Life for her, in the conditions she experienced after the accident, would have been unbearable without some sort of positive outlook on life. However deadpan, the joking and the "obscene gestures" and whatever other forms of goofing around beside Diego are a way of turning a portion of the situation in her own favour. Proverbial eggs have, after all, already been broken right and left — might as well make an omelette of whatever remains.
Humour is just another way of looking at the bright side of something, or, at the every least, of mitigating the utter horror it might bring. If the show allows for moments of lightness, if it lets us laugh, if it takes us through a perilous voyage which still bears ripe, succulent fruit instead of the rot of pessimism and its necessary contempt for humanity, it is because Ava herself sees things in this way. It isn't gratuitous or naïve in this case, but a true survival strategy, especially as it is confronted with the morbidity of Catholicism.
Here is a religion that soothes its faithful with the promise of reward in the afterlife — how else does one charge into battle against the unknown, risking one's own death along with that of one's sisters, without the balm of believing that we shall all meet again eventually, "in this life or the next"? How else does one come to terms with the ugliness and the pain of this existence if not by looking forward to a paradise perfect enough to make all trials and tribulations here worth it?
True nihilism would have annihilated Ava. Her present perspective is what avoided the abyss.
And there is nothing Panglossian to her attitude or what the show might imply by giving us her view on things. This isn't about "the best of all possible worlds", but of making the best of whatever situation we're in, of taking what we have and doing something with it, something good, something of ourselves. It isn't God making good out of evil, but our choices.
Killing innocent people and feeling no remorse will never be the best someone can aspire to do. Sister Frances, cardinal William, Adriel all learn this the hard way.
Those who do their best find that, somehow, they can move on from whatever it was that paralysed them. Ava, most of all, knows what it is to be stuck, frozen in place; she can never be the character who refuses to grow, even through pain, lest she condemns her spirit to the same fate her body is all too familiarised with. Those around her wise enough to let themselves be touched by her, by the dynamic power she carries, walk forth with her and live.
It says very little about "God" that Warrior Nun should adopt its heroine's views and seem "optimistic" as it progresses — but it speaks volumes about the values it presents for pondering, of the inspiration its protagonists provide, and of the multiple reasons why this is a story unlike most others.
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okay as a Jean Enjoyer i feel like i need to say this because there are different genres of jean enjoyment (jeanres if you will). i am of the faction where i don’t really vibe with the whole “jeangst” thing (as it exists as a fandom phenomenon) and here’s why. so much of the stuff i see labeled “jeangst” is WAY too sympathetic to and forgiving of jean for my taste. like he’s woobified or there’s a lot of uncritical ‘poor jean harry is so mean to him and now harry’s amnesia ruined his life :(’ type stuff which is such a fundamental misunderstanding of him and his role in harry’s past & present and it skews how we view his dynamic with harry too. and i don’t mean this as “oh considering jean’s pov is bad!!1!1″ no i consider his pov all the time i am indescribably mentally ill about the torment that the jeanharry relationship puts both jean and harry through. but when we consider his point of view i really think that just ascribing him the simple role of ‘poor depressed punching bag’ strips him of all the interesting parts of his character & also contributes to a less nuanced and accurate understanding of harry as well (it makes it easy to villainize him for his addiction and mental illness, which in and of themselves aren’t moral failings-- harry was a bad person for his behavior, which is not the same as his addiction or his illnesses)
like, jean put himself in this situation. over and over again. yes he was likely forced into working with harry, but whatever’s going on between them is more than a workplace conflict. you look at luiga’s twitter and he’s said so much about jean and harry’s codependency and the other mentions of a very close and very unhealthy personal relationship. you see the way jean talks about his own role vs harry’s in the ending-- jean WANTS to be the poor victim, he wants everyone to see him as the helpless punching bag who is being such a saint by Putting Up With Harry And His Bullshit, look at me, i’m so much better than this stupid mentally ill addict! he’s like harry you are so unprofessional, and there is something wrong with you, and we are all so tired of putting up with you and your shitty behavior, but here he is sitting in a hotel lobby in a wig to harass harry while harry is actually doing his job!! like jean my love here you are reaming harry out about “doing his fucking job” sir what are you doing!! you are sitting in a hotel looking angry for 14 hours just in case your special little partner who you are definitely sooo mad at condescends to speak to you for a few minutes!! and you dragged poor judit out here too!! jean. girl. babe. it’s time to admit you are a massive hypocrite with an even bigger victim complex. you, a mentally ill addict, are losing your shit at harry for being a mentally ill addict. why don’t you meaningfully address the actual behaviors instead of just reminding harry that he’s an alcoholic every 2 minutes.
like i’m not saying jean should have infinite patience for harry after multiple years of mistreatment but damn dude the double standards are insane. jean is instigating a messy public breakup and being pretty abusive the whole time and then he’s like everyone feel bad for ME and not STUPID HARRY who is an ALCOHOLIC in case anyone forgot. he goes on and on about how much his life sucks and how much harry sucks and boohoo poor him he’s so depressed and beaten down by the shitkid etc but then in ANY sub-ideal ending you get there’s still something that tells you that he’s still taking harry back or at least considering it. in the cuno ending “he can’t leave you behind. he just can’t. one final time...” even in the worst ending “if you make it-- if you’re sober for 10 months-- tell us. i’ll work with you again.” jean babe if you hate him so much then stay the fuck away from him!! damn!! your codependency is showing!! your victim complex is showing!! just go get harry’s name tattooed on you at this point like at the very least it might get you some sympathy from people at the bar when they ask about what’s very clearly an Ex’s Name Tattoo
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