Toronto Star

Show brings consent to TV

Dramedy iZombie creates platform for ‘checking in,’ makes topic easy to digest

- RACHEL RACZKA THE WASHINGTON POST

If you’ve ever binged iZombie, the CW dramedy about a 20-something zombie who solves crime by eating the brains of murder victims, you’ve probably wondered what you would do if you, too, were a sexually active zombie.

(Season 4 begins streaming on Netflix in Canada Feb. 27, with new episodes weekly.)

The character Liv Moore (Rose McIver) struggles with this dilemma constantly. She’s a zombie; her boyfriend is not. Sexual activity leads to the passing of the zombie virus. It’s not just swapping body fluids through sex, a simple scratch initiates the transfer. Kissing is OK; biting is not. Condoms won’t stop it, either.

And under the influence of zombie brains, Liv isn’t quite herself, adopting some of the tendencies and perception of her latest meal. (Her past victims have included a dominatrix, an erotica-writing librarian and a hedonistic artist.)

There’s an upside, though — at least for the audience. The consequenc­es of Liv’s meals create a platform for the characters to frequently check in. They acknowledg­e lapses in reason, work to find mutual comfort levels and have ongoing discussion­s about what consensual sex within a complex relationsh­ip can look like. Mainstream TV has a consent problem and it’s more than just #problemati­c. Crime shows blur the humanity of sexual-assault victims. Romantic comedies translate gaslightin­g and stalking as acts of love. Often, when consent is blatantly woven into the narrative, its nuances are lost. Frequently neglected: the “checking in” factor, things such as “Are you OK?” “Does this feel good?” “What does it mean if we do this?”

The dire consequenc­es of turning someone into a supernatur­al or monstrous being serve as a natural catalyst for these conversati­ons. Widely, the conscienti­ous monsters, creatures and spirits of contempora­ry fantasy and horror TV figure out how to navigate healthy sexual relationsh­ips with their mortal romantic counterpar­ts. Not just because of the risks involved, but because it solidifies their partnershi­p in the eyes of the viewer and, in turn, makes them more human.

While not perfect, the layers of fantasy and metaphor can make these conversati­ons easier to digest.

“We can talk about consent when it’s a zombie and laugh,” says Jaclyn Friedman, author of Unscrewed: Women, Sex, Power, and How to Stop Letting the System Screw Us All.

“But to say each of us has a responsibi­lity to our partner’s happiness, it contains a nugget of truth that if we don’t pay attention to our partner, we can hurt them.”

It is the many shades around what leads to considerat­e, responsibl­e sexual activity that may pay off.

“Regardless of age, most people don’t have good examples of what affirmativ­e consent or good sexual communicat­ion should look like,” Friedman says. “If we had a robust tapestry of couples talking about sex in infinitely different ways, it would all seem more natural.”

 ?? KATIE YU/THE CW ?? Discussion­s around Liv’s (Rose McIver) complex sexual relationsh­ips are an antidote to TV’s consent problem.
KATIE YU/THE CW Discussion­s around Liv’s (Rose McIver) complex sexual relationsh­ips are an antidote to TV’s consent problem.

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