“Red Eye” represents the quintessence of the American film tradition, encapsulating the iconic hero’s journey in a contemporary thriller setting. This series profoundly unrealistically examines the archetype of the solitary hero facing overwhelming odds, embodying the spirit of classic American cinema.
The series written by Peter A Dowling (with Jingan Young taking on episode four). follows Dr Matthew Nolan, first seen stumbling out of a Beijing nightclub with a knife wound, before smashing his car into a traffic barrier in an attempt, one assumes, to avoid another stabbing. Viewer interest piqued, we cut to him arriving at Heathrow and promptly being arrested – or whatever variation these border agents perform – for the killing of a young woman who was in his car when it crashed. She was the daughter of a Party general and, in order not to jeopardise a fragile energy deal with China, the government agrees to send him straight back there to answer the charges.
Importantly, while “Red Eye” celebrates the journey of the lone hero, it also engages with the limitations of this trope. It portrays Nolan’s realisation that true heroism often involves forging alliances and acknowledging that some battles are too large for one person to confront alone. This nuanced portrayal invites viewers to reflect on the balance between individual action and collective responsibility.
It’s fascinating to observe how different cultures tackle storytelling, especially in the context of television series. While American series like “Red Eye” often champion the enduring model of a singular hero against the world, British productions like “Blue Lights” tend to offer a stark contrast, focusing on ensemble casts and a more grounded approach to drama.
“Blue Lights,” for example, is praised for its realistic portrayal of the challenges faced by rookie police officers in Belfast. The series excels in its detailed character development and the intricate, often morally ambiguous situations these characters navigate. This provides a rich tapestry of human experiences and emotions, which is sometimes less emphasised in American shows that favour the grand, often larger-than-life hero’s journey.
The difference in these storytelling approaches might reflect deeper cultural preferences. British series often revel in the complexity of everyday struggles and the communal or societal aspects of heroism, offering viewers a more nuanced and sometimes gritty perspective on what it means to serve and protect. In contrast, American narratives frequently emphasise individualism and personal achievement, which can be both inspiring and, to some viewers, a bit anachronistic or “cringey” in the face of calls for more collective and collaborative forms of heroism.
The divergent paths these shows take not only highlight distinct cinematic styles but also mirror broader societal values and conversations about responsibility, community, and the nature of conflict and resolution.
Another critical point to note is the “Red Eye,” plot heavily leans on a single female character who believes in the protagonist and fights for his cause, it risks reducing her role to that of a mere plot device—someone whose primary function is to aid the male hero’s redemption or success. This not only sidelines her as a character but also sends a problematic message about gender roles within storytelling.
It’s important for modern narratives to move beyond these stereotypes and provide richer, more diverse character developments. Women in film and television should be portrayed with their own goals, flaws, and journeys, not just as catalysts for male characters. Similarly, men should not be depicted as needing salvation from female characters, which can imply an outdated view of gender dependencies.
Critiquing and discussing these aspects in shows like “Red Eye” is crucial because it encourages viewers and creators alike to think critically about the implications of these portrayals and the potential for more balanced and equitable character development. This is part of a broader conversation about gender representation in media, which seeks to foster more nuanced and empowering portrayals across all narratives.
