By Emely Leandro and Grace Feray
Introduction
Writing psychotic characters has become a common theme in media, captivating audiences with the complex and unfamiliar perspectives of these characters. Many have achieved iconic status, such as Hannibal Lecter. However, the female "crazy" trope is heavily prevalent across entertainment for audiences of all ages and differs significantly from male portrayals of insanity. The term "madness," long associated with femininity, describes these women as "suffering from unstable emotions, verbal relational aggression, and social manipulation" (Cerny). Originating in Greece, madness was a term used to describe women coping with male expectations of mature female sexuality from their adolescent wives, leading to mental instabilities that have evolved into today's modern "crazy" stereotype for women (Meyer). The portrayal of women as "mad" in media typically manifests in three forms: 'the obsessed woman', 'the woman gone mad', and 'the cool crazy,' each representing harmful gender stereotypes that equate women's emotions with irrationality and negatively impact audiences.
The Obsessed Woman
The portrayal of "the obsessed woman" was among the media's earliest depictions of madness in women, tracing back to the 1960s in the United States. During this time, many women entered the workforce, challenging the traditional male role within the family unit. This stereotype and trope aimed to counteract the movement empowering women by depicting these characters as villains and threats to the traditional family structure. "Fatal Attraction" serves as a prime example of this narrative, offering a cautionary tale to men against engaging with such powerful women. In the movie, Glenn Close's character, Alex Forrest, is depicted as a diligent woman working in the 1980s workforce. Upon meeting Dan Gallagher, who enjoys the ideal family life with a loving wife and daughter and a successful career, the story unfolds to reveal the complexities and consequences of their interaction.
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Dan meets Alex Forrest, a highly fashionable woman carving out her place in the workplace. Initially, she comes across as cool, calm, and seeking a "no strings attached" relationship with Dan. Yet, the situation quickly deviates from this casual beginning. Alex's descent into delusion is mirrored in her evolving attire. She starts off adorned in the quintessential '80s fashion, with padded shoulders, but as her obsession intensifies, her appearance shifts dramatically. She ends up in a disheveled, white dress that almost resembles a straight jacket, symbolizing her spiraling mental state.
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She ends up disrupting the family unit and embodies men's fear of powerful women. This depiction of madness leads audiences to view Alex as a villain, garnering little sympathy for her character. Glenn Close stated in an interview with The New York Times, "She is considered more evil than a person who needs help, which astounds me," highlighting that although Alex is a mentally troubled character, audiences fail to sympathize with her due to the character's lack of perspective (Galanes). Audiences are deeply frightened by characters "who don't live in the same reality as we do" (Cerny). Thankfully, modern portrayals of this category of "crazy women" are changing to incorporate more depth into the characters' stories. For example, Lorna from "Orange is the New Black" is one character who suffers from similar symptoms of obsession with men. However, audiences see that she has reasons for her madness as her backstory reveals that she has lost a child, leading to her current mental state.
Image: In These Times
The Woman Gone Mad
In this day and age, it is still rare to see a powerful leading woman in a TV show or film. Female characters who deviate from traditional roles and seek out power are ultimately portrayed as unfit to rule. This is typically seen through the troupe of making powerful women "mad" and "evil." This depiction creates a negative stereotype that women cannot be in power because they are too emotional. Male protagonists who are in power are typically seen as strong and courageous individuals. They can often overcome their flaws and still maintain power eventually achieving a happy ending. On the contrary, female characters seeking power are not given the same treatment. Often they are depicted as emotionally driven which leads them to be weak and lacking the strength to rule. As Michaela Meyer states in her article, "Madness is constructed as feminine through media discourses that situate women's behaviors in relationship to culturally constructed gender norms." If a woman does defy these odds and obtains power it is quickly followed by the struggle with their new identity and leads to their ultimate demise (Meyer).
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Daenerys Targaryen's character arc is a prime example of the representation imbalance of power dynamics due to gender expectations. At the beginning of the series, Daenerys is a timid and compassionate leader, seeking to free slaves and abolish them in all three cities in Slaver's Bay. Throughout the series, Daenerys becomes a symbol of hope and a powerful woman who is the
rightful heir to the Iron Throne. Although, naive at times she is still portrayed as someone who makes rational decisions that will benefit the greater good.
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However, the last season of Game of Thrones took quite a controversial turn. More specifically, in episode five of season eight, Daenerys all of a sudden snaps and burns all of Kings Landing killing thousands of innocent civilians. This was an abrupt twist that many fans did not see coming and agreed that this did not align with Daenerys character. This narrative shift depicted her as a "mad queen" aligns with the trope that once a woman gains power they are driven to madness by the tyranny of their power. It is only the male characters in this series such as John Snow and Tyrion Lannister who are seen as the only sane and stable characters. John Snow becomes the ultimate hero of the series when he kills Daenerys, the now unhinged and merciless queen.
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Cersei Lannister is another character that is trapped in this trope. Compared to Daenerys, Cersei was a much more ruthless character from the start. However, as Cersei's character gains more power her decisions become more reckless and immoral. She like Daenerys is eventually killed off and deemed too emotionally unstable to rule.
Image: Medium
The Cool Crazy
Another portrayal of madness in women is through the male gaze, depicting "the cool crazy." Characters in this category are often romanticized and highly sexualized, with personalities that are wild and unpredictable. Their perceived craziness, combined with their exceptional looks, makes them intriguing. For example, Harley Quinn in the 2015 "Suicide Squad" perfectly embodies this trope. At the film's beginning, Harley is introduced in a jail cell, portrayed as vulnerable and promiscuous. Crafted from a male perspective, Harley's "craziness" is highlighted when she provocatively licks the cell bars to attract the guards' attention.
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Harley Quinn's portrayal puts a cute and sexual spin on her mental illness, especially when she dons her traditional outfit of booty shorts and a tight baseball shirt emblazoned with 'Daddy's Little Monster'.
Image: Vanity Fair
As Stephen Harper notes in his article, "the representation of mental illness in the media remains a relatively under-researched area," leading to portrayals that often depict characters with mental illness as "violent," contrary to reality. Only 10% of individuals with mental illness have an increased risk of violence. Harley Quinn, known for her extreme violence and reckless actions with little regard for her safety, exemplifies this trend. Despite Harley Quinn being a deeply troubled individual with significant trauma, she is portrayed as admirable, largely due to her unique and appealing style, as depicted above. This portrayal overlooks the seriousness of her mental state, instead suggesting that such conditions make women more interesting to men. This notion is encapsulated by Donald Trump's comment in an interview, "How come the deeply troubled women… are always the best in bed?" reflecting a problematic male perspective towards women with similar traits (Kaczynski).
Harmful Implications of the Trope
The trope of portraying women as "crazy" in film and television can lead to harmful real-world implications. As a result, women are not considered competent to take on leadership roles due to their gender. In the workplace, it may immediately dismiss women from being promoted due to these unconscious biases that were influenced by the media. As Cathleen Cerny states in her article, "there is evidence that popular culture can influence sexual norms, emotional stability, and social aggression in young people." A sense of male dominance is created because they are seen as more strong-willed and effective leaders since they are more "logical." While women are more emotional and can be easily dismissed due to being irrational and unstable. Additionally, this can also stigmatize women's mental health. Any kind of overreaction by a woman could be categorized as "hysterical" or "unstable." This can contribute to women being gaslighted in professional and personal settings, where they might have legitimate concerns they may be dismissed. This portrayal in media can lead to serious consequences that affect women in real life.
Conclusion
This character trope exemplifies a problematic perception of women often being called "crazy." Psychotic characters can be extremely helpful in developing deep and complex stories. However, writers must be careful to not fall victim to gender imbalances that can reinforce negative stereotypes and can have real-world implications. Characters like Alex Forrest, Daenerys Targaryen, and Harley Quinn illustrate the dangerous perception that women with ambitions and strength can be dangerous. These stereotypes need to be challenged to promote gender equality and representation within the media. More diverse and positive works of media need to be created where powerful women are justly represented and do not fall victim to these ideals.
References
Cerny, Cathleen, et al. "Television's "Crazy Lady" Trope: Female Psychopathic Traits, Teaching, and Influence of Popular Culture." 2014, p. 9. Springer Link, https://link.springer.com/article/10.1007/s40596-014-0035-9.
Galanes, Philip. "Glenn Close and Patrick Kennedy on the Weight of Mental Illness (Published 2017)." The New York Times, 11 March 2017, https://www.nytimes.com/2017/03/11/fashion/glenn-close-sunset-boulevard-patrick-kennedy-addiction.html. Accessed 29 March 2024.
Harper, Stephen. "Media, Madness and Misrepresentation." European Journal of Communication, vol. 20, no. 4, 2005, pp. 435-576. Sage Journals, https://journals-sagepub-com.ezproxy.lib.utexas.edu/doi/epdf/10.1177/0267323105058252.
Kaczynski, Andrew, and Nathan McDermott. Trump on Lindsay Lohan in 2004: 'Deeply troubled' women are 'always the best in bed'. CNN, 2016, https://money.cnn.com/2016/10/14/media/donald-trump-on-lindsay-lohan/index.html.
Meyer, Michaela, et al. "Gender, Media, and Madness: Reading a Rhetoric of Women in Crisis Through Foucauldian Theory." The Review of Communication, vol. 11, no. 3, 2011, p. 216228. EBSCOhost Research Databases, https://web-p-ebscohost-com.ezproxy.lib.utexas.edu/ehost/pdfviewer/pdfviewer?vid=0&sid=6d17f5bc-b837-48d7-9b08-ec1dd59342b7%40redis.
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