Feminists in the sidecar: The misrepresentation of sidekicks—Troy and Abed (Adorno 102)
Sidekicks are unresolved characters in television series. Most of the time they are reflected in their apprenticeships. They are the secretarial manager of the main character. Whether a duo or a group the sidekick is the other half to the main character. A reflection in disguise. Yet it is this reflection that undermines their own autonomy and expression.
Cinema portrays leading characters at the helm. While there are aspects of a group of main characters. Examples include Friends, Avengers, Game of Thrones. Yet in each of these cases there is always a main character. For Friends it is Ross (though debatably Rachel), Avengers it is Tony Stark, Game of Thrones it is John Snow. While other characters can be described as as such, whether it be Rachel, Steve Rogers or Tyrian Lannister. Yet it is more or less obvious depending on the show. Tony Stark has more first ballot votes than Ross would have. It is a manner in degree. To an extent, this is a victory for the writers. Able to present multiple characters in a wide realm. Whether it be various central plots in a big world or numerous plot lines in an enclosed neighbourhood. It is all about portrayal but it is no shocker that the first and second protagonists share a relationship. Though not necessarily through direct deliberation but between values and themes running through the storyline.
A common misconception is to stare at the static scenery. Which character appears the most frequently or counting the number of lines spoken. This undermines the intuitive nature of the main character. It isn’t necessarily the calculable metrics that determine the centricity of the character but the storyline. Does the plot heavily revolve around them. While this can be dismissed as mere illusionary, it is the event that marks their core affinity not the quantity of sentences spoken in each episode. Who is the source of the most controversy, whose arc is more centred? The answer is generally a quick minded inspiration. It may revolve around two characters but a clear deduction reveals the authentic main spokesperson. This also occurs in sports. Experiencing the event is more honest than the statistics racked up. It is not so much a mirage insofar as it is the pressing audience perception.
While it is the group dynamic that hides the sidekick as the multitude of characters seems to ensure that a duo is not immanent. Ross’s sidekick is not Rachel, John’s is not Tyrian and Rogers is not Tony’s. It is not always in the apprenticeship metric but how the other complements. Not every sidekick is a Robin to a Batman. The latter is clearly a model of consistency and obvious portrayal. Robin is batman’s sidekick. An obvious concoction intended to divide the two characters. Batman is the obvious main character and robin barely has his own status. Yet this level of sidekick adherence is akin to a love interest. The character themselves has little to do other than bulk up the main protagonist. A reflection of the main character without any further lines. This evident sidekick only speaks to the main protagonist and relationship is centred around their role to such an individual. There is a main character and then there is a sidekick. Watson is Holmes’ assistant. A secretarial asset to maximise his specific prestige. While the sidekick does not eclipse their role, it is the transition to Nightwing that robin becomes his own character. He must escape to a new city with a new identity to break free of the sidekick role. After Dick leaves Jason then Tim take on the mantel of robin. Robin becomes a symbol of a sidekick to batman. A learning role, a student to the enduring master.
Robin differs from Watson since Watson is a person not a symbol. Anyone trained in the art could be a robin to batman but Watson must be his personality, only he can reflect Holmes. In a battle of dualistic presentation it is the other half. Dwight is Jim’s sidekick. It is the goofier and inferior half of the main protagonist. Yet it may not be as obvious given in the multitude of characters in a sitcom unlike a thrilling genre of one character with a spoiled brat as his younger. The sidekick at times is cooler than the protagonist. Fonzie was cooler than Richie and Han cooler than Luke. A dependent or dependable individual. Whether it be Han or George there is a significant irony to this character as they shine a dashing light on the protagonist. The importance of reflection reigns supreme in the obvious correlation to either the immense superiority or inferiority of the protagonist. Fonzie is a perfect example of a superior mentor able to show Richie how to be cool. George is a perfect example of the opposite casting an inferior friend able to assist Jerry in his New York life. It doesn’t derail the essence of the character but how that character influences the protagonist. Han is Luke’s cool older brother acknowledging his mentorship role as aiding Luke to defeat the empire.
At times is is unclear or it is intentionally placed that there is more than one sidekick. In How I Met Your Mother, Ted is by far the main character. Yet both Marshall and Barney play significant roles in his development. The argument over best friend intensively demonstrates their own assistance in aiding the growth. While there is generally a number two who reflects the character, in this sitcom there isn’t necessarily one character dependent on another insofar as each of them needs the other but it can be said that Barney needs Ted. Barney wishes for Ted to name him his best friend despite Ted looking for Marshall to stay in town. A bit of a love triangle. Barney acts like a sidekick vying for Ted’s affection. In a way the sidekick in this scenario is the padwan who doesn’t leave her master alone. An obsessed friend who wants to have fun with his best mate. The sheer clingy nature results in a mentorship and reliance. For Friends, it is also tough. Chandler is the sidekick but more to Joey than Ross. The flashbacks display Chandler sidekick to Ross but the more he lives with Joey the more he is Joey’s caretaker. There is an ironic inverse where the sidekick is the more reliable and nurturing friend. The sidekick is simply the tool that aids the protagonist’s march. While Joey does lose out to Ross, it is Chandler’s role that solidifies himself as sidekick material.
It is Joey's sidekick-ing that alters the mechanics. Ross and Rachel are the main protagonists yet after Monica and Chandler's marriage the latter gain more stories. While this is an arbitrary decision by the writers it is telling to how the story evolves. Joey and Phoebe retain their minimal character specific story lines. Ross and Rachel may have the most screen time and the most attention but their dual protagonists is on equal footing. The sidekick can only be the one who far from the group. Steve and Tony are dual protagonists on opposite sides of the Civil War each vying for the main role but are both centred as the leader. The sidekick is a mentorship between two others. Sam is Steve's sidekick and Rhodey to Tony. Yet their sidekick-ing devolves in the Avenger movies. They are no longer robins to batman but a part of a team that expresses new fragmented apprenticeships. Bronn to Tyrian, Sam to John and Jorah to Daenerys. The latter are short lived and fall short when the main characters all converge in the later seasons. The sidekick nature is rarely ever so strong with these characters. If anything, Arya's "sidekicks" The Hound and the The Waif both shielded her at every turn. The role of their attached at the hip remains but it doesn't carry in the same manner.
Much can be said of this deliberation. Maybe the sidekick in these sitcoms is wrongheaded. It is an attempt to classify a character a sidekick akin to Watson or Robin when such a role for individualised group identity is absent. This may be speculation but it is attempt to demonstrate the roles of others inside multiple cast members. In the case of batman or Sherlock Holmes, the sidekick is obvious. It is the non-main character assisting the main character. While Seinfeld and The Office were surrounded with other cast members it was clear sidekicks who played critical roles to the protagonist. Yet it isn’t the same when there are six friends each with their own storylines explored. Chandler may be the sidekick but his development intersects beyond sidekick material. If anything, his marriage to Monica only further cements this hybrid version. While he lives across the hall from Joey, Rachel moves in with Chandler and Monica is Ross’ sister. Building a Joey room in their Westchester home capitalises on Chandler continuing his care for Joey. It may uniquely break the bounds of sidekick nature but it does reflect an interesting theory of how each character impacts the other.
What is the most telling is whether the sidekick grows or are they a shadow for the main character. Do Watson, Robin or Han ever grow? Spock may be the best example of an equal sidekick that grows with his counterpart. Their friendship is what ultimately prevails. Spock learns from Kirk and grows. Han learns from Luke and grows. Robin learns from batman and grows. Whether or not their original spotlight was tainted by their sidelining, they learn and fulfil their mission. That cannot be said of all sidekicks. George and Dwight both become worse characters. While this occurs to many main leads as well. Ross became an angry fool and Rachel a narcissistic bitch. The problem with a sidekick is if they are solely present for the purpose of the main character. If they have no individuality then their continuous errors will only worsen. It is a tragedy when such characters lose their spellbound hope and become less of who they are. Those drawn at the hip only survey the juxtaposed matrix that much longer. It is only if the script makes room for their own path can the sidekick truly become their own hero. The spotlight is too narrow and plot too thin to allow for more interaction. The shadow cast is permanent and any inkling of individuality undermines their role. Robin is the sidekick and his individuality leads to his exit. Nightwing is the sole possibility of liberation.
To some extent, Chewbacca is the obvious choice for sidekick. A character that says quite little and never outshines Han. Then again it is possible to have more than one sidekick depending on the correlation between characters. A sidekick may simply be the hidden Chewy or the brazen Han. It is relative to the protagonist. Chewy fails to show much growth through the movies but Han does. The vague use of sidekick is not necessarily the clumped duo that seems so obvious but one that corrals in the plot’s development. While Chandler may seem the sidekick type, Joey’s lack of development throughout the series and more a reflection of the main characters is a homage for sidekicks. A sidekick may resemble a best friend who simply empowers the character or one with more background. Is the character in the shadow of the main character or on equal footing? The sidekick may never transcend the inferiority complex thrust upon him. Chewy never surpasses Han’s equality but Han does live up to Luke’s esteem. Frankly, sidekicks come in all shapes and sizes. Whether or not the sidekick fits the traditional definition of an apprentice or best friend advisor is of little relevance. The important part is of its central role to the main character’s growth through the years.
While Friends may seem to be about six friends, the narrative is a will they won’t they between Ross and Rachel. Everything else that happens attempts to compete with the most telling narrative. How I Met Your Mother fans were upset when the mother was not Robin because that is where the show was building towards. Even if it is cliche it closes the arc. Pining after Rachel or Robin is the central theme to the show. Underlying all the character’s obstacles and achievements both series begin with a male character falling in love with a female added character. Both Rachel and Robin were later additions to the group. It was the external invasion that propelled the main protagonist to bring her in to the group. The spice of the first kiss and episodes ends abruptly. Fans expect it to happen. Waiting till the ending to see it happen. This is not the theme of every show. Yet it was of this particular genre. It is a hero’s journey without the military fighting aspects to it. The sidekick to both series are those who assist in ensuring the critical event occurs. The Joey sidekick works its way into dating Rachel in the latter seasons. For Ross it is Chandler and for Ted it is Barney.
Sidekicks are by and large apprentices (cheerleader types) They are simply a foil for the main protagonist. With some cases it is obvious but other cases especially in wider character range it is not. Yet within these bigger groups behind the protagonist is a battle for second place. In the Office while Michael is more or less the main protagonist, Jim and Dwight act in second place. Dwight is Jim's foil. For Friends It is Joey and Chandler with Joey as the foil even though Rachel is clearly the other main protagonist. It depends on how the show runners develop the plot. It is a tier below the prevailing arc. When a show revolves around multiple characters at times the foiling is between two lesser characters. Star Wars is interesting since one sidekick remains a sidekick while a former "protagonist" becomes a sidekick. Chewy is always Hans sidekick but Han switches from a "protagonist" to sidekick (including if the Solo movie is canon. Luke devolved from a protagonist to a sidekick though it could be perceived as even worse though including the prequels Obi Wan transitions from the protagonist alongside Anakin (since his storylines are independent) to Luke's mentor sidekick. Unlike Han, Obi Wan has his own plot that diverges completely from Anakin. Obi Wan is more Spock-like. The nature of the sidekick is his own omission of selfhood in the face of the protagonist. He may have some screen time alone but that very rare.
What makes a perfect sidekick is their names do not part from their other half. Han and Chewy, Mario and Luigi or batman and robin, Chandler and Joey. There is not the latter without the former but there is the former without the latter. Luigi is in the Mario games. He only exists on behalf of Mario but Mario can be played without him. There are certain games without Luigi. Robin is alongside batman, his adventures with the cape crusader. Yet there are tons of batman comics without robin. Watson is not Watson without Holmes but Holmes is still Holmes without Watson. Their impact on the main character is special but their role independently is irrelevant. Where Chewy was before Han, where Watson was before Holmes is unknown and unrelated. It is how the sidekick enhances the world of the protagonist. How Joey enriches Chandler's relationship. How Joey fits into Chandler's love life. Even more so how Dwight acts counter to Jim. It is a foil of the other half. One half exists while the other is a colourful magnet to elevate the foiled. They are a duo but one side clearly edges out the other. It is intentional to embrace the foiled character and elevate their growth.
Though the most egregious elements of a sidekick is their telling fidelity to their role without transcending their nature. Community clearly divulges this trope with Troy and Abed. Troy though independent early on becomes Abed’s other half in a matter of seasons. He loses all his individuality. He enters as a newcomer with much to prove but he soon sinks into a role that he never recovers. He is tied at the hip and forced to concede to Abed’s superiority on a number of occasions. Troy becomes robin to Abed’s batman and cannot outdo his own demise. His attempt to strengthen his masculinity, to be a leader is at odds with Jeff. Jeff is the alpha and Troy wishes to take Jeff’s place. In a quasi-oedipal jealousy he steals Britta and challenges his authority during paintball. While Jeff humbly acknowledges Troy in the long run, his immaturity remains a thorn in his side. Annie who was initially gunning for Troy loses her interest and turns her ambition toward Jeff. Troy’s immaturity is to lowly for her taste but Jeff has a plan and does grow. While imperfect his arc as a leader continues to propel himself forward.
Troy’s regression to a mere minute piece of the series is unfortunate given Glover’s immense talent. Troy’s regression into a sliver of his prior ambition stalls his own growth. His jealousy of Jeff does little to enhance his growth. He loses his edge and it is only through the negative means that he seeks to raise himself up. So much promise but so much wasted. The psychological misfortune of a best friend who demands obedience. Set so evidently in the visit to comicon. Troy realises he is Reggie and wishes to change his status. Finally recognising the pit he has placed himself. While Abed is strict in placing himself centerstage even with Annie he acknowledges his subordination to Jeff. The only way for Troy to eclipse his submission is to escape. He must travel alone. He must set his sights on a personal journey to grow. Similar to Robin to escape batman’s shadow, he must reinvent himself elsewhere. There is no room for equality in his friendship. Sadly mutual duality is missing. True sidekicks cannot break free of their counterparts without acknowledgment. Kirk respects Spock permitting the dualistic mutuality. Luke hugs Han and they travel separate ways but Chewy never leaves Hans’ side. The level of relationship can only be toppled by the main character’s willingness to accept the sidekick’s aspirations and levelheadedness. A sign of mutual respect and surface equality.
It is only once the main character permits this that the sidekick can have an arc of his own. Without certain acknowledgement the sidekick remains attached with no personality other than a helping hand. Robin is only batman’s sidekick. There are attempts to bind him to the Teen Titans as a way of isolating him from his subservient role but even then he is either still under batman’s hold or he has become something else. The transition to nightwing is intentional to demonstrate his independence. Moving to a new city with a new comic strand in his honour. Luke’s respect for Han and Kirk for Spock allows the latter to cultivate their personas independent of the leadership. The shadow is strong. Many sidekicks remains that way. Patrick Star is SpongeBob’s sidekick, Watson to Holmes and Wilson to House. It is criminally isolated to their roles as the main lead’s underlings. Whether it be an apprentice, friend or mentor, it follows through. The sidekick rarely has a second side to his character. It is a side only monitored in the presence of the protagonist’s interests. Wilson’s past is relevant to House in its puzzled format to ponder and analyse. The sidekick is the squire. Carrying all the tools. The king demands and he submits. His role is to engage and respond. He is an npc if spoken to and elevating to the character. A minute engrossment other than their relation to the lead, a sad reality really.
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