#labrynth
I’m all in favour of LGBT reimaginings of popular media, but with respect to some of the Labyrinth fan-castings I’ve seen floating around lately, there’s really no getting away from the fact that the Goblin King is a sexual predator.
Like, that’s the straight-up text of the film, and it’s not especially subtle about it.*
I’m not saying gay people can’t be villains, but the whole point of Jareth is that his attraction toward Sarah is sick, and her rejection of him represents a triumph of good over evil – it’s very much a film born of the Stranger Danger narrative that was all over popular media in the 1980s. I’m sure it’s possible to do a same-gender version of that without falling down the slippery slope of Unfortunate Implications, but it doesn’t feel like that concern is even on the radar in a lot of these proposals.
* Though the subtext isn’t slacking off, either. Remember the scene where Sarah first encounters Jareth, where he starts fondling a crystal ball, smirkingly invites her to play with it, then snarls and thrusts a snake in her face when she declines? That ain’t the reading-too-much-into-the-curtains kind of symbolism!
I feel like it’s more complicated than that, though? like… I feel like being a cis man there’s some nuance you’re missing?
CW: Long meta, rape mention, frank discussion of Problematic Teenage Fantasy Boyfriends
Labyrinth is pretty clearly a Symbolic Coming-Of-Age Story ™ about the Role Of Fantasy in the life of a Young Woman, right? it’s about how you need to have a healthy relationship with fantasy. you can’t let it push away the people you love, you can’t let it control you or blind you to what’s there. but it can help you make lasting friends, and when you need it most- for any reason at all- it’s there.
it’s pretty much text that everything in Labyrinthis part of Sarah’s imaginary world. Everything in the Labyrinth is either something she sought out and loves- her plushies and statuettes, her music boxes and books- or some part of herself, some want or fear or dream, given form.
And a lotof girls like Sarah- bookish, daydreamy, intellectually gifted but emotionally immature girls who’ve been steeped in a lot of crap about relationships from the world we live in - have a Fantasy Lover who looks and acts a lot like Jareth.
He’s Intense and kind of scary– because when you’re at that age, anythingto do with romance or sex is intense and scary. He’s passionately, obsessively devoted to you, because it feels good to be needed and a teenager hasn’t got the life experience to realize that IRL that kind of obsessiveness is a red flag. He’s an older man- sometimes mucholder- so that he knows what he’s doing and can show you what to do, but he’s as pretty and graceful as an age-appropriate crush would be. He’s Flawed and Broody and a bad boy- but it’s blatantly obvious that he has good qualities; he will gladly make a fool of himself dancing just to make a baby smile.
And the Fantasy Lover is often… yes… kinda predatory. He’s a vampire, or a werewolf, or a Phantom, or a Goblin King. He comes onto you,not the other way around; he chases you, and you run for a while before falling into his arms and being Ravished. He leads when you dance; he tells you “do everything I say, and I will be your slave”.
But there’s a reasonfor this. in modern American society- and this was even more true back when Labyrinth was being filmed- women are not supposed to wantsex. even having fantasiesabout having a passionate lover yousought out that youwant can get a bit ~taboo~. and if you’re a teenager- especially if you’re a sheltered teenager with no female friends or family, no one to tell you that what you want is okay and normal- it can feel weird and bad and scary to fantasize about, well, initiating consensual sex. you don’t feel like you’re allowedto; Nice Girls don’t.
so oftentimes, the Fantasy Lover blurs into rapefantasy territory. he knows exactly what you want and he gives it to you, no matter how many times you say no. you deny yourself any agency within the context of your fantasy, but sinceit’s just a fantasy, you’re having your cake and eating it too– after all, you can stop whenever you like. you still get to be a Nice Girl, a Good Girl- you didn’t do anything wrong, even in your own head- but you get all the poorly-choreographed Imaginary Romance Bodice-Rippin’ you want.
normally, this is a pretty harmless coping mechanism. the thing is… “denying herself her own agency” is one of Sarah’s big flaws.
She tends to immediately deny that she made bad decisions, to act like bad things just happento her because It’s Not Fair, to balk when there’s a problem she can’t immediately solve. heck, selling Toby to the Goblin King in the first place is sort of a backhanded denial-of-agency – shedoesn’t want anything bad to happen to Toby even though she resents his existence, oh no no no, it was the Goblin King that stole the baby.
And Sarah’s never in any real danger from Jareth. the snake scared her, but it didn’t bite; the poisoned peach would have made her lose her memory and stay in her fantasy world forever, which is something that Sarah knows is bad, but still kinda wantson some level.at their final confrontation, he doesn’t try to kill her, doesn’t try to fight her– because he can’t.
Jareth is Sarah’s Fantasy Lover. He can’t do anything that Sarah doesn’t want him to. he’s predatory because Sarah wants him to be, because then she doesn’t have to accept that she wantssex and romance; she can pretend it’s just another thing that happens toher. the reason Jareth is so out of control in the text is that Sarah has given away all control.
the final confrontation in Labyrinth, isn’t Good Versus Evil in the sense that you mean; it isn’t Sarah destroying Jareth forever, or kicking him out of the land. Hell, he shows up at the end in barn owl form, while all the muppets are having a dance party in Sarah’s bedroom– he’s a partof her inner, fantastic world, and has just as much right to be there as Ludo or Hoggle or the little dudes with the ostrich hats. but he’s only a partof that world, and he’s not the part that matters most, or the part that has say.
their final confrontation is Sarah accepting, and taking responsibilityfor, her inner life. she is the one in charge of her destiny; she wants what she wants, she needs what she needs, and she will take responsibility for both. she doesn’t need Jareth to do things “to” her so she can pretend she doesn’t want them to happen. her will is as strong as Jareth’s, and her kingdom as great. he has no power over her.
so like…I get where you’re coming from with recognizing the Unfortunate Implications and all. “Gay people are sexual predators” isstill A Thing, and in the real world, yeah, Jareth would be a creepy pedo stalker. assuming our civilization survives and all, I hopethat someday people look at Labyrinth the way we look at Baby, It’s Cold Outside and completely miss the point. :V
…but c’mon. a kid who grows up being told that they don’t reallywant the things they want– and if they do want those things, they’re Literally Satan– is gonna have so very much more trouble accepting their own sexuality as they get older.
you can’t tell me that there aren’t plentyof queer teenagers out there who have the same problem denying their own agency, magnified and exacerbated by the fact that they’re queer. or that plenty of us didn’t want the goblin king to come take usaway, and didn’t really understand whyuntil much, much later.
As a not-a-cis-man person, I agree heavily with Mal’s analysis here. I think it’s telling, also, that the biggest fans I personally know of Labyrinth are all women, many of whom were in their teens or older when it came out.
Just a worm
Danny Graham 2019
