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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[ 𝚕𝚒𝚗𝚊𝚐𝚛𝚊𝚖 𝚏𝚒𝚕𝚎 #𝟶𝟸 ]
oh, look, the second file is here! don't you want to open it? i wonder how the prisoners have been doing lately..
Female Prisoner A: .. Is everybody here?
Male Prisoner A: Yep, I don't think we've forgotten anyone.
Male Prisoner A: Right?
Female Prisoner B: .. I didn't have much of a choice.
Male Prisoner B: I wanted to know more about [REDACTED]'s plan. So of course I came.
Male Prisoner C: .. I need to get out of here.
Male Prisoner C: It's either dying or getting out of here. The first option didn't work, so..
Male Prisoner C: .. I'm going with the second one.
Male Prisoner B: ...
Male Prisoner D: I just came because [REDACTED] is also here.
Male Prisoner D: I don't really care about getting out of here, rebelling and all that shit.
Male Prisoner B: Your parents are probably worried about you though.
Male Prisoner D: ...
Female Prisoner B: Wow, [REDACTED], thank you very much for reminding us that you're the only one here who has a normal relationship with his family.
Male Prisoner B: I-it's not my fault your families suck!
Female Prisoner A: Calm down.
Female Prisoner A: We have to stay quiet. They're too busy figuring out what's wrong with [REDACTED] and [REDACTED], but they can still show up at any moment.
Male Prisoner D: !
Male Prisoner A: Hey, hey, it's okay. She's not here. She's not gonna hurt you.
Male Prisoner D: .. I-it's not like I'm scared or anything..
Female Prisoner A: So, everyone still has those.. uh..
Female Prisoner A: Christmas presents, right?
Female Prisoner B: Is that why you called all of us here?!
Female Prisoner A: It's important.
(sounds of prisoners putting their presents on the table)
Female Prisoner A: Great. Okay, we will need these, so please, make sure you don't lose them.
Female Prisoner B: Sure, whatever, but what am I supposed to do with mine-
Female Prisoner A: We'll talk about it later.
Female Prisoner A: Um.. [REDACTED]. You're the only exception here, so..
Female Prisoner A: It's okay. I know something that only you will be able to do.
Female Prisoner A: Anyway, let's talk about [REDACTED]'s present first.
Female Prisoner A: [REDACTED], you're not really that suspicious and you don't have a particularly bad reputation in this place. Actually, you've been getting better lately.
Female Prisoner A: I think you're the one who suits the best for this role-
Male Prisoner D: He's just so mid that nobody ever pays attention to him, so yeah, he's perfect for this job.
Male Prisoner B: Oh yeah? Go on, try to be our spy, if you can. Surely they won't think something weird is going on when they see a [REDACTED] running around and [REDACTED] when all he usually does is [REDACTED] and [REDACTED].
Male Prisoner B: And your precious [REDACTED] is going to be so worried..
Male Prisoner D: SHUT UP!
Male Prisoner A: Shh, remember that we're supposed to be quiet~
Female Prisoner A: So.. I think you understand what I want you to do.
Male Prisoner B: I'll do my best. If I see or hear anything, I will write it down.
Female Prisoner A: Thank you. Now, [REDACTED]..
Female Prisoner A: Your present will be very useful to us. You're good at distracting people and getting their attention, right?
Male Prisoner A: I sure am~
Female Prisoner A: I'm trying to think of the best time to use this..
Female Prisoner A: Ah, I know. Do you think you can [REDACTED] when [REDACTED]'s interrogation will start?
Male Prisoner A: Hm.. But what about my cell? The doors will probably be locked.
Female Prisoner A: You can ask [REDACTED] to keep your door open in case you need to get medicine or anything like that.
Female Prisoner A: You're still recovering, right?
Male Prisoner A: Well, she will just offer to bring it herself then.
Female Prisoner A: I don't think so. [REDACTED] has.. changed.
Female Prisoner A: And she has been very busy lately, so..
Male Prisoner A: Hm, I see.. I'll do my best then~
Female Prisoner A: [REDACTED], it's still hidden inside your present, right?
Male Prisoner D: Yeah, let me just..
Male Prisoner D: Here.
Male Prisoner A: Thanks. Hey, this little guy is very useful. I think we should save him for later in case we'll need to hide something again.
Male Prisoner D: Only if you pay me first!
Male Prisoner A: Haha, sure, sure.
Female Prisoner A: Now, your present, [REDACTED]..
Female Prisoner A: It's fake, right?
Female Prisoner B: Definitely. I know [REDACTED]'s handwriting. It can't be a letter from her.
Female Prisoner B: Why the hell would they even give me a fake letter as a present? Are they mocking me-
Female Prisoner A: Maybe, but also..
Female Prisoner A: .. No. No, I'll stay quiet about this one for now.
Female Prisoner A: Anyway, can you ask [REDACTED] about it? I wonder if they are responsible for this or..
Female Prisoner A: .. Someone else is.
Female Prisoner B: I swear, if [REDACTED] wrote this, I am going to-
Male Prisoner A: Now, now, [REDACTED], this is the third trial and you've been getting nothing but [REDACTED], are you sure you want to ruin your reputation even more?
Female Prisoner B: .. Who cares, I am going to get out of here anyway.
Female Prisoner A: And now.. [REDACTED].
Female Prisoner A: Your present is not here, because..
Male Prisoner B: [REDACTED]..
Female Prisoner A: I know. Sorry.
Female Prisoner A: Still.. Do you think you can [REDACTED]? You seem to be close with her.
Female Prisoner A: Or, how should I put it..
Female Prisoner B: You're her type.
Male Prisoner C: .. Ahaha..
Male Prisoner C: .. Sure, I guess..
Male Prisoner C: .. It's not like I can do anything else in my current condition.
Female Prisoner A: And finally, my own present.
Female Prisoner A: I will use it to record everything I find suspicious, however, if you want, you can use it as well. Just tell me beforehand. No stealing, okay?
Female Prisoner B: Hey, can I use it for my interrogation?
Female Prisoner B: .. I want to check something.
Female Prisoner A: Sure. I'll give it to you when they start interrogating everyone.
Female Prisoner B: Thanks.
Female Prisoner A: .. I think that's all. Thank you for coming, everyone.
(sounds of footsteps becoming more and more quiet)
Male Prisoner A: Hey. Good job.
Female Prisoner A: It's nothing. I'm just glad I've found people who hate this place as much as I do.
Male Prisoner A: They hate it for a different reason though.
Female Prisoner A: And I don't care about their reasons. The only thing I care about is them wanting to change things. I just want them to fight. I want them to be ready to stand up for themselves.
Female Prisoner A: I wanted [REDACTED] to join us, but.. She's been acting really weird lately.
Male Prisoner A: Hey.. You're a really good leader actually.
Male Prisoner A: Though I shouldn't be surprised, haha-
Male Prisoner A: !
Female Prisoner A: Be careful with your words, Kei.
Female Prisoner A: You're still recovering, right?
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Watching Making myself sit through Moffat's Who, trying to give it a decent chance and I can't stand it already. Y'know why?
The stupid fucking love triangle.
Because not only is it just generally annoying as a trope, but it is so poorly written here. It takes over the show in a really obnoxious way and completely flanderizes characters who, in the first episode, were decent people.
Rory is portrayed as a fool for being... concerned that his fiance is cheating on him with the not-actually-imaginary friend she's been obsessed with since childhood, who she ran off with and kissed (A normal thing to be concerned about!!). And just generally, he's portrayed as a bumbling idiot. As the one who just gets confused and makes one-liners about being insecure. And both Amy and the Doctor just brush him off, leave him behind! Mocked by the woman who's supposed to be there for him and abandoned by the Doctor who's meant to keep him safe. He's being reduced to basically just comic relief here, and it sucks.
The Doctor is so.. aloof. More so than 10 and DEFINTELY moreso than 9. He's a silly, childish man who often fails to recognize the emotional consequences of his actions. He has his emotional moments, yes, but a lot of his writing falls victim to what I call "Sherlock Syndrome." When Moffat just writes an aloof super genius and expects the audience to fawn over him because he has good outfits and witty one-liners. Matt Smith is a fantastic actor and he carries a lot of his run, but putting glitter on a turd doesn't stop it being a turd.
Amy is yet another victim of the "every woman falls madly in love with the Doctor" pitfall. Worked with Rose, got old with Martha and after that almost every one-off woman who flirted with him just made me roll my eyes. Her obsession and anger with the Doctor didn't have to be romantic, but Moffat just couldn't resist writing a "strong female protagonist" who's sexy and she knows it, who loves having all the boys fawn over her and flirts without a care in the world. Who's a brash girlboss in charge of her boys, but who also turns into a sobbing damsel in distress at the slightest sign of danger.
All three of these characters are so blatantly characatures of themselves right now that it takes me out of it. They're all just quippy one-liners of their smartness or their brashness or their insecure foolishness. Can these types of people exist in real life? Yeah. But the way they're written about here is just obnoxious. I'm willing to accept that later Moffat seasons might be better than this (at least on the interpersonal conflict side of things), but it's season 1 and he's already dropping the ball so hard.
We could've gotten something truly marvelous, with a PLATONIC conflict based on the Raggedy Man from her childhood finally coming back and offering her freedom from a boring adult life. She's enamored with him, but doesn't entirely trust him because hey, he massively fucked up once already. Maybe Rory is concerned about his place in Amy's life, and Amy tries to be comforting. Maybe she messes up, maybe she says the wrong thing. Maybe she says the wrong thing right before losing Rory to the crack in space and time. But she has to try, because why should I care about a relationship where one person doesn't care about the other's happiness, at least a little? And right now it just feels like she doesn't.
I'm not saying shows shouldn't have interpersonal conflicts and flawed protagonists. They should! But to pull that off well, you have to make us want to see these characters grow. You have to give us a reason to enjoy watching these characters interact, even at their low points. And revisting Moffat's run as an adult, I don't feel enjoyment. I just feel annoyed.
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