当“女权艺术家”成为喜剧的点缀Feminism as a Comedic Accessory
BBC Three 的这部新剧《He Had It Coming》提供了一个极其典型的 masculine-centric narrative 样本。一个“邋遢的女权主义艺术生” (grungy feminist art student) 与一个“网红”结伴喝酒、涂鸦，然后发现校园明星运动员被杀。在这个设定里，“女权主义”不是一种政治自觉，而是一个 Character trait，一个用来定义角色“古怪” (offbeat) 或“边缘”的标签。
这种叙事技巧极其阴险：它通过在角色身上挂上“女权”的牌子，营造出一种“我已经关注到了性别政治”的进步假象，但实际上是将女权主义 aesthetic 化、消费化。当一个女性角色被定义为“女权主义者”且同时被描述为“邋遢”并卷入一场滑稽的谋杀掩盖战时，这个标签的功能就是为了制造 comedy，而非探讨 power dynamics。这是一种典型的 cultural violence，它把一个关于生存和权利的抗争叙事，降格为一种身份装饰品。
更讽刺的是剧名《He Had It Coming》（他罪有应得）。即便这只是一个黑色幽默的噱头，但在元暴力的潜意识里，这种设定依然在玩弄一种危险的博弈：将结构性的暴力简化为个体的“报应”快感。这种表达方式让观众在发笑的同时，潜意识里完成了对女权主义主体性的再一次剥夺——她不再是定义事实的人，而是一个在男性定义的剧本里扮演“反叛者”的演员。
The new series 'He Had It Coming' on BBC Three serves as a textbook example of a masculine-centric narrative. By introducing a 'grungy feminist art student' paired with an 'influencer' in an 'offbeat' murder mystery, the show treats feminism not as a political consciousness, but as a mere character trait—a label used to signal that the character is 'quirky' or 'marginal'.
This is a sinister narrative tactic. By attaching the 'feminist' label, the production performs a simulation of progressiveness, while actually aestheticizing and consuming feminism. When a character is defined as a feminist and simultaneously depicted as 'grungy' and embroiled in a farcical cover-up, the label functions to generate comedy rather than to analyze power dynamics. This is classic cultural violence: reducing a struggle for existence and rights into a fashion accessory.
Even more telling is the title, 'He Had It Coming'. While framed as black humor, it operates within the framework of meta-violence, reducing structural violence to a simplistic sense of individual 'poetic justice'. This expression allows the audience to laugh while subconsciously completing the erasure of feminist subjectivity—the woman is no longer the one defining reality, but an actor playing the role of a 'rebel' within a script written by men.