DIRECTOR'S NOTE • Nov. 2023
You can't go home. This play has a particular
care for and interest in its victims. The resident
inciting event is endless. tragedy is much more
concerned with footnotes than it is with gods.
well acquainted with what happens afterward,
storytellers claim they can't diverge from what's
written: resist. rage against what must be.
tell a story about war without talking
about love. survive its aftermath. fail
to find resolution. make this suffering
a home. There's no breaking this chain—
fate, as always, gets its way.
Poetry assembled from the program of an Oresteia production. Nov. 2023.
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the responses i’ve seen to shiv’s ending seem very quick to write her off as just another sad victim of the cycle, which isn’t without truth BUT!!! that is not even remotely the summation of shiv’s story.
i don’t think she votes yes to “save kendall” or to try to finally set her brothers free. and i don’t think her main concern was that ken was becoming their dad. she absolutely noticed and didn’t love it, but that was not her motivation in betraying him. she was thinking about herself.
it’s tempting to make a martyr out of her as she is the only female child and we see her suffer the onslaught of misogyny that comes with that. but to make her into a saintlike figure who got beat takes away the power and intelligence behind her decision.
at this point she’s stuck between two non ideal choices, but she recognizes that they have accidentally made her the single most important player in the game. because while she can’t have the outcome she’d prefer, she has the power to decide the fates of everyone else. the written off lone woman now holds in her hands the fate of every man in her life.
so she thinks about the long term benefits of both options and realizes that one side leaves her completely without any leverage.
her brothers have proven to her multiple times in the last few days alone that they will cut her out and walk all over her the first chance they get. siding with them leaves her nothing to bargain with. she would just have to hope that ken would actually take care of her. and that level of vulnerability is not only unacceptable to her, it’s stupid. and shiv fuckin roy is not stupid.
so she thinks about the other side and about what she actually wants for her life. and against her better judgment, it’s becomes unfortunately clear that she wants tom. the way she wants him is not altogether loving or even good but it is necessary to her. she sees relationships as having winners and losers and she chose this man specifically so that she could be confident in her ability to win. except now he’s grown some balls and made himself unavailable to her.
she may not like the way her husband is evolving but she already placed her bets on him, so she’s sure as hell not losing to him now. there’s also a part of her that feels intrigued by this new man she’s married to. it’s interesting to have a sparring partner in him instead of having to looking for excitement outside of their marriage.
so for maybe the first time ever, she processes what tom has said to her and thinks about what he actually wants.
he needs her to prove that she cares. he needs to know that she is capable of sacrifice. if she can’t find it within herself to do this for him, then she will lose him, and by extension, she will lose.
siding with tom gives her the opportunity to once and for all make a grand-stand gesture of love, but more importantly, it creates leverage for her. never again will he be able to hold the moral high ground over her head. never again can he say she doesn’t love him. never again can he call her selfish or uncaring. above all, he can never betray her again, because she just removed all of his moral justification for turning on her. he doesn’t realize it yet, but she’s just taken back all the power in their relationship. just in a more subtle way than she’s used to operating.
and just like that, she has the ceo of a multi billion dollar company in her pocket, while situating herself as the only descendant of logan roy to still be playing the game, having removed her brothers from the equation permanently. she may still be far from the top but she’s creating a path for herself to climb.
so yes, she’ll let tom play king for a day, and she’ll have his baby and say “congratulations,” and play the gracious wife, but tomorrow is a new day with lots of room to maneuver. and when her husband puts out his hand, she’ll place her own on top. but she won’t grasp it because she doesn’t need to.
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when developing Lili's job as a sex worker, I had a comic planned where Sera and Lili do talk about her job and Sera offers to "save" Lili, but Lili tells her she doesn't want to be saved and doesn't want her job to be viewed as this burden that ruined her life. She likes it, and thats all there is to it.
But, as someone who is not a sex worker himself (despite doing some research and even asking sex workers for feedback), I felt like it came off too preachy and soapbox-y. I also notice that whenever the topic of sex work gets mentioned in my work, a lot people get really upset at the topic. I'll never forget being told that Sera and Lili's relationship was "less wholesome" after finding out that Lili is a sex worker. And the last thing I want is for my reply section to turn into a warzone.
At the same time, I still want to represent sex work as a normal thing. Not just for hell denizens but in general. The fact that sex work is still a poorly represented profession in media, and that I have people assume Lili was "forced" to do her job because that's just assumed at this point is disappointing. I hope the dialogue can make it clear that its normal, and its fine. And please stop saying "poor Sera" she literally summoned Lili, she knows what she got into.
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