Joss Whedon’s Much Ado about Nothing Skirts the Line Between Comedy and Tragedy

This is the first post in a new series discussing my 40 favorite films.

 

Groups can so easily turn against a single person, as I learned at the end of my freshman year in college 10 years ago this month.

Skyler* and I had met on the first morning of orientation, and for much of the year we were inseparable. Our friends said we were like twins. We listened to the same obscure bands, treated Shakespeare like a religious text, and, ultimately, fell in love with the same girl, Mary Ann*.

This was never going to end happily, as anyone with a cursory knowledge of Shakespeare probably realizes. Throughout his career, from his early comedy The Two Gentlemen of Verona to a late romance, The Winter’s Tale, the prolific playwright wove stories about inseparable friends whose friendships are ultimately torn apart by jealousy and mistrust.

Advertisement

AIDS, Authoritarians, & the Demon-Possessed Man, Part 3: When You Become the Monster

After I left the group I began studying the mechanisms of scapegoating.

 French sociologist Rene Girard said that all human conflicts are built around something called “mimetic desire.” Here’s how it works. Suppose two brothers are happily playing in their front yard. The older one grabs a toy soldier from their pile of toys and begins playing with it. The younger one immediately wants it—not because of its inherent worth, but simply because his brother has it. This makes the older brother want it even more, and before very long the two are engaged in a huge fist fight.

 Luckily, though, the neighborhood whipping boy, Jerry, happens to walk by at that moment. Jerry wears glasses and is chubby. The two boys forget all about their argument and run off together to torment Jerry.