The rage of Achilles is the rudder that steers the Iliad. By the time the heroes of Greek lore reach modernity and Percy Jackson emerges, the clothing has changed, but the resentments of both hero and villain have changed little. Both Percy and Luke, the primary villain, harbor anger against their fathers that provide just as much motivation to them as the loss of Patroklos spurs Achilles to strike down as many Trojans as he can before he receives that fated, fatal stroke to the heel. Stephen Garrett argues that modern heroes in television programs are more conflicted and therefore more fascinating than their earlier counterparts. This argument is based on a limited assessment of the available examples. While Walter White and Gregory House are admittedly a source of complication, they provide no more fascination (or complication) than Barney Miller, Steve McGarrett or the assorted protagonists of the Alfred Hitchcock Presents series. While modern anti-heroes spend more time at the task of introspection, that at times leads to as much ennui as anything else.
- Introduction
- Body Paragraph #1: Barney Miller
- Analyzing motives of criminals rather than solving the mystery
- Emotional insight into all of the major characters
- Developing emotional bond between audience and show
- Body Paragraph #2: Steve McGarrett
- Building hostility between McGarrett and various crime lords
- Intricate crime plots for audience to consider
- Extension of stories across several episodes to build interest
- Body Paragraph #3: Alfred Hitchcock Presents
- “Lamb to the Slaughter” – the anti-heroine
- “Revenge” – emotional insight into anger and revenge
- “Don’t Come Back Alive” – financial worries and anxieties that motivate a couple to stage insurance fraud
- Conclusion
- Counter-arguments: Fewer restrictions on content today mean that realism is elevated. I respond that the power of suggestion in earlier programming can convey the same themes.
- Counter-arguments: Today’s shows have more moral complexity, with less of the black-and-white element in plots. I respond that there is plenty of room for the morally gritty in all of the examples I present.
- Closing
