This is a guest post by Katrina Majkut.
Orange Is The New Black’s second season reveals more about the lives and crimes of its supporting characters. What lies at the heart of season two is not the misdeeds these women committed that account for their imprisonment, but the relationships surrounding them and their personal desires that ultimately contributed to it.
This is a recurring theme in Jenji Kohan’s work. Consider Kohan’s first breakthrough female character, Nancy Botwin in Weeds. Botwin, a dependent housewife, turns to drug dealing once she realizes her lifestyle choice left her financially destitute. Kohan, like many women before her – Simone de Beauvoir to Betty Friedan, iterates that the real crime is the one where women believe relationships are a means to an end.
The Atlantic’s Megan Garber argues that traditional Rom-Coms are a dying Hollywood genre because they don’t include contemporary online dating. I respectfully disagree; OITNB is arguably a new age Rom-Com (plus drama) that still operates on dial-up (Wi-Fi is too fancy for that prison). It merely takes the genre’s traditional trite heterosexual storylines, the romantic city backdrops, and the saccharine plots and puts them into solitary confinement. It then throws away the key.
OITNB reinvigorates this genre by exploring more dynamic and diverse relationships: platonic and romantic, internal and external. Unlike in Rom-Coms, sex is not a driving force in OITNB. It’s merely a perk and even then can lead to complications like Officer Bennett (Matt McGorry) and Dayanara’s (Dascha Polanco) pregnancy. And the show breaks new ground in this obsolete genre with its almost all-female cast. Rom-Coms want viewers to believe that problems will resolve themselves within a relationship; Kohan’s version suggests that’s where they start.
Piper (Taylor Shilling) lies at the heart of this theory. Season two reveals how much her relationship with Alex (Laura Prepon) has negatively impacted her life. However, Piper is not committing crimes in the name of her passion for Alex. In fact, we learn her poor decision-making stems from her relationship with her parents, their habit of obscuring the truth, and her father’s infidelity. Piper’s story makes a compelling argument that one’s nurturing is more influential over personal nature. Maria Ruiz (Jessica Pimental) supports this idea by begging her taciturn boyfriend to talk to their daughter so she grows into a well-adjusted child.
To what purpose Piper is driven to commit these crimes has yet to be revealed, but the question highlights OITNB’s most interesting angle on the new age Rom-Com genre – desire. Season two unveils that the characters’ relationships are merely conduits to attain more intangible, inherent passions like – power, safety, belonging, fortune, favor, excitement, loyalty, relevance, etc.
This is most evident with Season two newcomer, Vee (Lorraine Toussaint), who, rather than quietly ride her jail time out, is driven by a passion for power and sets out to take Red’s. She’s highly aware of her psychological needs… and others’, which is how she manages to manipulate several women into doing her bidding. She plays off these characters’ needs for family, connection and approval, like Taystee’s (Danielle Brooks), who despite her book smarts, turns to drug dealing in the pursuit of motherly love. Viewers quickly learn that one can only be as healthy and wise as the company one keeps.
That also includes the relationship people have with themselves. In OITNB’s subtle exploration of nature versus nurture, viewers are also shown a compelling argument that personal nature also influences decision-making. As nature drives needs, a person can easily become his or her own worst enemy. Take for instance formerly pro-choice Pennsatucky (Taryn Manning), who, eager for affection from an inattentive boyfriend, quickly switches sides when she realizes how to earn the esteem of the pro-lifers. She’s willing to permanently win their worship by taking the life of a clinic doctor. Sister Ingalls (Beth Fowler) continues to protest despite ones from the Catholic Church, because who is she without her activist conviction more so than without Jesus? Miss Rosa’s (Barbara Rosenblat) boyfriend introduced her to bank robbing, but it was after her first heist that she realized she had a knack for it.
OITNB does not always blame the id. It also wonders whether larger societal forces are culpable too. Take, for instance, adorable Lorna (Yael Stone) a modern day zeitgeist for Bridezillas. As a compulsive shopper, she’s a victim of the consumer industrial complex that taught her happiness and fulfillment can be bought. When a cute man rejects her after one date, she realizes she can’t buy or scam her way into love so it triggers a fatal attraction in her. Pornstache’s adopted patriarchal mindset that women are merely pleasure objects leaves him jobless, in jail, and alone. Officer Healey’s misogyny leads him to procure a “traditional” wife via mail order, only to discover that true companionship can’t be bought or found through biased gender roles.
None of these characters is committing crimes in the name of passion per se, but their unrequited desires are usually leading them toward a perpetual cycle of bad decisions, which, for most, result in crimes. With such skewed risk and reward results, viewers have to wonder if they’re aware of what drives their poor decisions.
The prison setting provides good insight into this. Stripped of life’s comforts, the prisoners are faced with meeting the basics of Maslow’s hierarchy. Meals and a roof are nominally provided, but their social and psychological needs remain elusive. It’s not that people in love do stupid things (though that can happen), but people are willing to assume certain risks if it means earning, winning, or attaining whatever it is that they are seeking. Whether the individual characters know these desires does not ensure their survival or success, which is perfectly captured in Vee’s final scene. Soso (Kimiko Glen) sums up the importance of well-rounded relationships: “We should be leaning on each other, finding support in our fellow prisoners. So we’re not isolated…. I need a friend.”
Viewers learn that community is necessary to survive inside prison, but more importantly outside too. Matriarch Red (Kate Mulgrew), who has struggled the most with family, power, and support, appears to be reaching this important arch. This becomes evident as she gathers with her estranged prison family to break bread and offer an olive branch. Her benevolence and selflessness is rubbing off on her family too, such as when Nicky seeks help with her sobriety, who then offers Lorna the recognition of love she’s always desired (even if it’s platonic). Red mirrors the sentiment Kohan is not so subtly reaching at – that failure is inevitable if we let unhealthy relationships and desires define us. Like jail, they can easily hold people back.
Kohan’s spin on female media dives much deeper into characters and relationships than the now-suffering traditional Rom-Com genre. Rom-Coms’ superficiality is its biggest crime, which ultimately led to its lack of popularity and box-office support. OITNB is a compelling game-changer by highlighting the true nature and depth of women’s desire and making their relationships secondary.
However, it’s important to bring up The Atlantic’s controversial article by Noah Berlatsky, “Orange Is the New Black’s Irresponsible Portrayal of Men,” who accuses OITNB from his seat of male privilege that “the problem is that the ways in which OITNB focuses on women rather than men seem to be linked to stereotypically gendered ideas about who can be a victim and who can’t.” It seems that OITNB has also shaken up the crime and punishment genre.
First, he couldn’t be more off the mark about people being overly generous in their sympathy toward female victims of violent crime. If he were right, rape on US campuses wouldn’t be such an egregious current event. His lack of sympathy for victims sounds eerily like victim blaming, but I digress. Secondly, neither OITNB, nor this article, is suggesting these women are victims of their own unfulfilled desires; many take pride in their crimes! The show is merely trying to get to the psychological root of the misdeeds and decisions and if the prisoners can learn from them.
What makes OITNB such compelling entertainment is the same substance that Berlatsky criticizes. The show redefines an entertainment genre and the traditional characterization of women and prisoners. Based on Berlatsky’s argument, for example, there wouldn’t be any dynamic movies featuring female CEOs because 95.2 percent of Fortune 500 CEO positions are filled by men and they’ve only ever been portrayed as Gordon Gekkos. So in Bertlatsky’s, world men deserve better portrayals first. That’s the thing he misunderstands about OITNB‘s psychoanalysis of desire–if we don’t understand what drives us, we run the risk of using our male privilege to ostracize and enrage minorities. ¿Comprende, Bertlatsky?
Media’s crime is portraying women or prisoners with limited scope and vapid storylines. Kohan’s desire to shake up two very stagnant media genres has left many feeling blindly robbed of a genre they once controlled, but for others it’s filling an empty gulf in entertainment. Season two begins to unravel the mysteries surrounding the inmates’ incarceration. It offers an intimate peek into how the nature of relationships is ultimately driven by personal desires. OITNB is honest in admitting that healthy, trustworthy, selfless, and supportive relationships are as elusive for everyone as that freedom all the inmates desire. But the real culprit is that passion, which without understanding, can get anyone in trouble in the first place.
Katrina Majkut (My’ kit) is the founder of www.TheFeministBride.com. It hopes to inspire a new generation of newlyweds who want unique and egalitarian wedding ideas to fit their modern lifestyles. It aims to empower couples to walk down the aisle as equals. As a writer, lecturer, and research-based artist, Majkut is dedicated to understanding and exploring social narratives and civil issues in Western marriage and wedding culture. She is represented by Carol Mann Agency in New York City. Please follow The Feminist Bride on Twitter @FeministBride and on Facebook.
