Telling a woman, particularly a stranger, to smile presumes unearned familiarity. Worse, it implies a right to dictate behavior. Perhaps, however, the most unnerving aspect is how frequently the endeavor is entered into with the best of intentions.
When asked specifically how much of the framing of “smile” is inspired by modern misogyny, show runner Melissa Rosenberg laughs before responding, “Let’s see. 100%” Rosenberg continues, “This is a character who is not defined by her gender. But those of us of the female persuasion, our lives are certainly informed by our gender and the misogyny around us.”
Moreover, Kilgrave’s powers bring matters of consent to the forefront, not merely by showing him taking over the minds of both men and women, young and old, but by digging into his confusion about his own abilities.
“I never know if someone is doing what they want or what I tell them to do,” Kilgrave cries to Jones, when confronted over the repeated incidents of rape and abuse. In attempting to justify his powers of persuasion, Kilgrave serves as an exaggerated representation of perceived consent.
The cluelessness that often underscores unintentional harassment does not seem to be lost on Rosenberg, as later episodes in the season will attest to. In the midst of a heated argument, Kilgrave attempts to explain away his treacherous actions. He even goes so far as to apologize for his sins, even as he doesn’t believe he’s truly guilty of them, saying, “Whatever you think I did to hurt you, I’m sorry.”
It’s telling that with all of the issues that “Jessica Jones” tackles, including PTSD, rape and abuse, it has chosen to make its arch villain something of a throwback to an antiquated misogyny in which he is pathologically unable to take responsibility for his actions.
When Kilgrave tells Jessica to smile, it’s disturbing not because he controls her every thought and action, but because it’s a situation that resonates with many women, sans superpowers.
“Jessica Jones” is revolutionary because in acknowledging casual misogyny and exaggerating its most destructive tendencies, it exposes the pervasive toxicity therein. It does all of this without making a show of its politics, instead resting easy on the knowledge that all too many women will relate to the subtleties of its premise.
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