Meeja consumption : comments.
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![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
(no subject)
Of course! But the people who think like that weren't writing the reviews I read. Of course, a LoM comm probably wasn't the best place to look for an open-minded attitude to Ashes to Ashes, but still...
as of course Alex does in that scene where they strip her and paint something on her naked backside but it's all good natured joshing and if only women would realise this they'd get on much better in the workplace,/i>
I didn't think that was the message at all. It struck me as genuinely humiliating, and as her mother points outs out afterwards, it's symbolic f the difficult compromises women have to make in a male-doiminated work environment.
(there's a vomitorious scene between Alex and Gene in the bistro in which she pretty much says as much)
I haven't got to that one yet, so I shall have to reserve judgment, bit it doesn't sound promising :-(
b) are too unintelligent/weakwilled/humourless to deal with it "properly"
This is another "different readings" moment - because I felt, watching the harassment that we've seen so far, that there isn't a proper way of dealing with it, not by an individual, but that Alex can handle it because she genuinely believes all these men are figments of her imagination and therefore it doesn't matter if they hate her. It gives her a strength that a woman in that position wouldn't have in real life.
(no subject)
The problem is that your "different levels of consciousness" reading isn't consistent with how AtA was greeted when it came out and - more importantly, how Keeley Hawes approached the role (and was, presumably, directed in it).
In the same way as there were a large number of police officers who saw Gene as a welcome reminder of the days of "proper policing", the actress's whole attitude to the role - from the fact that she felt more liberated in the "sexy" clothes (for reasons best known to the script editors she didn't get out of that fur coat and no knickers get up for at least the first two episodes) to various comments about how she thought Alex preferred 1981 to 2008 - made me feel she really, really didn't "get" just how horrible workplace sexual harassment was back then (even compared to how it is now, which isn't good). And I think the scriptwriters and many of the viewers really enjoyed the fact that they could put a woman in a really humiliating series of positions and no-one dared object to it, because it was all hip, and post-ironic.
(no subject)
I also don't think that just because some unreconstructed Neanderthal policeman took an uncritical approach to Gene Hunt means it isn't possible to see him in a different light. I do get the impression that the writers of LoM felt much more nostalgic about 1973 than they did about 1982 - perhaps 1982 is too close to be suffused with a rosy glow, or perhaps London is closer to home than Manchester. Whatever the reason, I get the feeling that they take 1982 more seriously - and one of the effects has been to disempower Gene and make the "Ha ha, he's beating up a perp" scenes come across differently - there's certain amount of sending up in the show's treatment of him (overly "heroic" shots and music, designed to get a laugh), and at the same time it's made clear that he isn't absolute master of his demesne, he's now part of the Met, and his hands are often tied. 1973 was a cosy community (if you were white man), in those idyllic far away pre-Thatcer days. Sam chooses to go back at the end because he misses that sense of community. But 1982 doesn't - at least so far - seem cosy and community-minded at all. It's much less like Oz, and more like Kansas.
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