Popular Culture Review 29.1 (Spring 2018) - Page 109

hospital for the criminally insane.  In short, Alice’s actions often reflect John Luther’s shadow-self, a dark and dangerous side that Luther shares with the series’ sociopathic monsters.  In fact, as Alice intuits and acts upon Luther’s shadowy desires, she creates a “moral dilemma” (Jung quoted in Hoyt) for Luther. Indeed, Alice’s acting-out of Luther’s hidden and “monstrous” desires “challenges [Luther’s] whole ego-personality.” Because of Alice Morgan, he is forced “[T]o become conscious” of the “the dark aspects of [his] personality as present and real” (Jung qtd. in Hoyt).   In short, Alice’s behavior often reflects “the thing [that John Luther] … has no wish to be” (Jung qtd. In Hoyt). She reveals to Luther his own monstrous side. Additionally, Alice is a borderline representation of the “monstrous feminine”—of an “overpowering femininity” (Hogle 11) that represents a threat to the long-established English patriarchy.  Julia Kristeva and Barbara Creed apply this label to women who, alienated and abject, find a familiar place in works of horror. Certainly, Creed’s summary of Kristeva’s position concerning the connection between abjection and horror in the “monstrous feminine” is applicable to a discussion of Alice Morgan: …Although [Kristeva’s] study is concerned with psychoanalysis and literature, it nevertheless suggests a way of situating the monstrous-feminine in the horror film in relation to the maternal figure and what Kristeva terms ‘abjection,’ that which does not respect borders, position, rules,’ that which ‘disturbs identity, system, order…’.” (8)   Kristeva and Creed agree that this “abjection” (clearly manifest in Alice’s defiance of rules and borders) is most often realized in those who have been discarded by a generally patriarchal community built around strict moral requirements that are perhaps best exemplified by religious laws intended purify (Creed 9; Kristeva 15- 17, 67-68).  In the words of Kristeva, Alice also borders on being “immoral, sinister, scheming, and shady” (4), her “overpowering femininity” (Hogle 11) manifest in the rage created by being forcefully cast off, in this case by her own parents, and resulting in homicidal retribution.   Abject, monstrous, Alice is also a version of the “castrating female” (Creed 1-7), another Gothic horror archetype that has for one of its sources the legends surrounding the Greek sorceress Medea. This female archetype has as one of her driving motivation the desire to disempower or emasculate the male. Barbara Creed associates the castrating female with the “toothed” vagina that threatens to devour (105) and points out that victims of castration “die agonizing deaths. Flesh is cut, bodies violated, limbs torn asunder…. Where the monster is a psychopath, 109