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![]() ![]() "It's a problem of conflicting visions." Arguably, this only serves to make their villainy even more disconcerting.Įlsewhere, the Irish thriller Rose Plays Julie (2019) by Christine Molloy and Joe Lawlor, shows the charm that can smooth over great malignance with its story of a young woman Rose confronting her long-lost biological father Peter, a smooth celebrity archaeologist with a secret history of sexual offences. "You have characters that genuinely believe they're innocent," says Dr Catherine Wheatley, a senior lecturer in film studies at Kings College London. The crucial thing about these men is that they actually believe that they are nice guys. Other recent works reckoning with toxic "nice guys'' include Emerald Fennell's Oscar-winning, zeitgeist-capturing film Promising Young Woman (2020), which gave us a slew of would-be date rapists who protest in so many words "But I'm a nice guy!" when the drunk woman who they took home to take advantage of, reveals herself as sober, avenging angel Cassie (Carey Mulligan). ![]() If anyone gets in his way he is content to kidnap and kill them – even as his interior monologue woos the audience with his seductive point of view. Yet, beneath the surface of his smooth self-presentation, both to the other characters and the viewer, his villainy is extreme and undeniable: his method of gaining information on the women he supposedly has romantic feelings for is to stalk them, hack their communications, break into their homes and steal their things. The series allows him to present himself through a narrative voice-over as a wry, humorous, clear-thinking anchor in a world of delusional materialists, who always has a morally righteous way of justifying his actions. In it, former Gossip Girl heartthrob Penn Badgley plays Joe Goldberg, a charming, handsome and diffident bookseller – with a secret sideline in stalking women and serial killing. One show that has explored this trope within a mainstream, pop-culture context is Netflix's You, which returns for a third series today. The trope of casting the "nice guy" as the villain is increasingly relevant, in particular, in a post-#MeToo world where the cultural discourse about male violence grapples with the fact that perpetrators are usually not mythical monsters or social outcasts, but everyday "respectable" men who trade on their status to abuse women. And just as some horror films may provide perverse comfort with their very obvious boogeymen, so these deceptively genial villains help us to confront faulty preconceptions about who appears to be a good and bad person – and what we deem to be good and bad behaviour. Supporting this uncomfortable truth has been a swell of recent stories on film and TV, which have been focused in particular on bad men, who are all the more dangerous for their ability to pass themselves off as "respectable" – to appear as the "nice guy". – Five stars for the new series of Successionīut equally we know that bad people, whether predators or murderers or otherwise, are not immediately identifiable by either their looks or the way they present themselves – hence why, in real life, there are regularly stories of people guilty of the most heinous acts, in which neighbours, colleagues or acquaintances remark how ordinary they seemed, or what a "family man" they appeared to be. That's why, from Freddy Kreuger in Nightmare on Elm Street to Rami Malek’s character Lyutsifer Safin in the new Bond film No Time To Die, villainy has been visually coded via the extremely prejudicial use of facial disfigurements. A cliché about villains propagated by film and TV is that they’re physically conspicuous, and so anyone with eyes can see they are a threat. |
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