TW: Discussions of child abuse and neglect.

The sitcom Scrubs ran from 2001- 2010 delighting viewers with the escapades of daydreaming Dr ‘JD’ Dorian and his friends. Unlike most TV sitcoms Scrubs perfectly balanced the comedic and the tragic. Being set in a teaching hospital with most of the main cast being doctors; there was plenty of fodder for some truly heart-wrenching storylines.

Like with most sitcoms, if you look under the jolly veneer (and have too much time on your hands) a much darker story emerges. In Scrubs, I would argue, this may be the past of its titular protagonist JD (played by Zach Braff). Some fans (ok, me) speculate that not only did JD have a less than ideal childhood but an abusive one.

Hints of this could be interpretated throughout the series:-

1. Attachment to Dr Cox

 One of the most popular aspects of the series is the oddly touching relationship between mentor and mentee: Dr Cox (John C McGinley) and JD. It’s perfectly normal to admire and want to emulate an older colleague. But JD’s admiration of Dr Cox always seemed to go a step further. JD looked to the older doc as not only a mentor but a father figure. 

JD explicitly states this throughout the series. Most notably in the finale; when during his much sought after hug JD claims Dr Cox smells “like a father figure”. This is odd as Dr Cox is only about 13 years JD’s senior. We know JD’s biological father (played by the late John Ritter) was pretty much absent during JD’s childhood. Is this yearning for a parental figure a way to fix JD’s damaged childhood?

As loathe as I am to criticise a fan favourite but Dr Cox openly mocks and belittles JD, almost never referring to his protégé by name. Instead by a vast archive of disparaging nicknames. The show does establish that there is love and respect om both sides, from Dr Cox deep down (deep, deep down). But why does JD not only put up with as well as seek out this treatment? Very masochistic. Or, has JD been subconsciously taught that taunts and aggression equate to love?

2. Feels Affinity with Dr Cox and Elliot

The show establishes early on that Dr Cox had an abusive homelife as a child. He openly reminisces about his parents being violent alcoholics. Is this the real reason that JD clamours for Dr Cox’s attention? Does JD see Dr Cox as an inspiration of someone who came from a similar background to his and became a well-respected doctor and family man?

Is the same true of JD’s on/off girlfriend, future wife and fellow doctor; Elliot? The show establishes that Elliot’s parents are mentally, emotionally, and financially abusive. Are JD and Elliot drawn to one another (partly) because they are both traumatised by their past? Even when it is proven time and time again that they are not suited.

3. Hostile Relationship with Older Brother

 JD’s older brother Dan (Tom Cavanagh) appears several times in the show. Despite regularly visiting his kid brother, JD makes clear that these visits are not welcomed. JD’s ire is uncharacteristic as he’s shown as an ardent people pleaser throughout the show. Yes, Dan did bully JD throughout their childhood, though it’s unclear whether this was normal sibling rivalry or more.

In Series 3 Episode 5 ‘My Brother, Where Art Thou?’ JD attempts to cut off contact with Dan claiming that Dan never looked out for him. Even as children of divorce why is JD so upset his brother didn’t protect or “come through” for him? In the same scene JD comments about how their mother “married anyone that rang the doorbell”. Reading into this (hey, it’s what we’re here for) did Dan not protect JD from these multiple husbands?

4. Audience Never Actually See JD’s Mother

To me this is the most obvious that something is suspicious about the Dorian matriarch. Despite seeing every other cast members mother (except Dr Cox but its implied that his parents are dead) we never see JD’s. He, at the very least, seems to have a good relationship with his mother. Mostly speaks highly of her and she calls often. It doesn’t follow the trope many sitcoms use; having a character the audience never physically sees being used for comedic effect.

We hear JD’s mum (Barbara) speak in a flashback (Series 3 Episode 21 ‘My Self-Examination’). While Barbara was tucking young JD into bed she was saying some quite toxic things to her child, like how no women will ever be good enough for him. It is clear this scene is supposed to be somewhat creepy as Barbara is stroking the child’s face in an inappropriate manner. Adult JD even refers to his mum as “sexy” in the same episode. Very Freudian but in the light of everything else we are discussing: very disturbing!

5. JD’s Mother Drank

Linked to number 4 JD admits in Series 8 Episode 2 ‘My Last Words’ JD admits his mum “drank a lot”. Does this statement answer some questions about JD’s odd childhood?

6. JD is a People Pleaser

As we have already mentioned JD is a pathological people pleaser (what’s that like?). As a doctor he goes above and beyond for his patients. He does everything from finding patients estranged family members (Series 4 Episode 11 ‘My Unicorn’) to shaving his head in solidarity with a chemo patient (Series 5 Episode 15 ‘My Extra Mile’). Of course this is all very commendable but JD particularly enjoys the gratitude. Why does he need this validation? Is this a coping mechanism from a turbulent background who had to go above and beyond to get the love that should have been unconditional?

7. Extremely Tactile

 Another of JD’s character traits is he extremely tactile. This is of course played up for comedy with his ‘sneak hugs’ (Series 6 Episode 13 ‘My Scrubs’) delivered to the stand-offish Dr Cox or the fact he has his friends on a ‘hugging schedule’ (Series 5 Episode 8 ‘My Big Bird’). Is this someone trying to seek the love and affection he never received in childhood? Or reassure himself that the people he loves won’t disappear?

8. Self-Sabotaging

A common reaction to childhood trauma is self-sabotaging behaviour. In his romantic relationships JD has this in spades. Throughout the run of the show JD has more romantic partners than the rest of cast put together. It is acknowledged that JD goes from relationship to relationship with alarming speed and breaks them off for shallow reasons. Again, he may be trying to seek the love and security he never had in childhood.

JD’s damaged psyche is put on full display when after spending the majority of the series chasing Elliot she finally leaves her loving boyfriend for him. JD immediately decides he doesn’t want her anymore to many fans outrage (Series 3 Episode 20 ‘My Fault’).

9. No Therapy

As well as never actually seeing his mother, we never see JD engaged in any kind of therapy. All of the other characters attend various types of therapy throughout the series. JD does not, despite arguably needing it the most. Is JD perhaps too scared of what therapy might uncover or not want to deal with his trauma head on?

10. Overactive Imagination

During Scrubs entire run (except the final series thou shalt not be named) hinges on JD’s overactive imagination. His outlandish fantasies make for excellent comedy and unique sequiturs to break up the storylines. But what if this was yet another coping mechanism for the hapless leading man? 

Children from challenging background often disappear into elaborate fantasy worlds in order to escape their surroundings. Is this a habit JD could never quite kick? It would explain why he doesn’t seem to have a lot of control of his daydreaming despite being an adult. It is a comfort and a way to deal with the difficult stuff life throws at him.

If any or all of these speculations are true Scrubs goes from being a mere half-hour sitcom to a story of one man’s triumph over his dark past. Despite his flaws and failings JD has still made something of himself and is surrounded by his chosen family; all of whom love him for who he is. This is extremely inspiring.

Trigger Warning: Discussions of sexual assault and rape.

In a lot of ways Buffy the Vampire Slayer was more than just a TV show…it was a feeling. 

No. But it did change the way heroines were written and showed the world how awesome and self-aware supernatural comedies could be. In the mid-’90s to early ‘00s, Buffy influenced everything from fashion trends to the way we speak. The linguistic feature of speakers ending declarative sentences in an upward inflection (like everything is a question). This phenomenon, known as ‘upspeak’, became popular in the mid-90s to the horror of many a boomer. 

Buffy was progressive in many ways for its time. A strong (yet at times, admirably vulnerable) relatable heroine. Buffy was cool, independent, and brimming with quippy comebacks. Buffy’s creator, Joss Whedon, may have turned out to be the bad guy but he did create an admirable main character and immerse us in her world. Buffy was one of the first primetime network shows to have a gay main character and a lesbian relationship. Lesbian-identified Willow Rosenberg ushered in a new age of sapphic style that helped generations of queer young people come out.

Throughout the show, Buffy has not one but two hot, badass vampire boyfriends. What’s not to love?

Well, as it turns out; a lot of stuff. Like many shows from that era, Buffy doesn’t always adhere to the morals and values of 2024. I am, and have pretty much always been, a Buffy obsessive (to varying degrees). Even I can admit the main cast wasn’t exactly diverse. There are of course insensitive comments and jokes that wouldn’t fly today, but what I want to focus on is the show’s treatment of sexual assault. 

In Western culture, rape is seen as one of the worst that can happen to a woman, perhaps even worse than death. Throughout the series, Buffy (and her female comrades) is assaulted numerous times and threatened with rape even more.

Season 1 Episode 6 – The Pack

In probably one of the weirdest plots, an early ‘monster of the week’ episode. Buffy’s closest male friend is possessed by the spirit of a hyena on a class zoo trip (it happens).  

To a lot of modern fans; Xander is the archetypal ‘toxic nice guy’. Identifies as a feminist but regularly slut shames his female friends and has different rules of conduct for them than he does for himself. Regularly treats his romantic partners as less than or infantilizes them. Xander’s questionable behavior aside, this is the first episode where his true nature perhaps shines through.

Up until this point he had been attracted to Buffy. The slayer’s disinterest in anything other than friendship had caused him to act petulant and snidey in ways only a teenage boy can. As loathe as I am to compliment Nicholas Brendon (‘Xander’) the complete personality shift he embodies for possessed Xander is laudable. He’s confident, cruel, and highly sexual. Even vampiric some might say. 

Possessed Xander’s newfound animalistic urges lead him to attack Buffy with a strength that matches her own supernatural strength. In an uncomfortable scene, he pins her to a vending machine and tells her: “The more I scare you…(SNIFFS)…the better you smell.”

Buffy escapes by knocking Xander unconscious and remarks to Willow that Xander “tried his hand at felony sexual assault”. It could be argued that Buffy is making light of her trauma by joking about it. However, at the end of the episode, Xander pretends he remembers nothing about his possession but then admits to Giles that he does. 

Other more popular recurring characters are forgiven for their horrific behavior due to their lack of souls (being vampires). However, the show never makes clear exactly what a soul is and how it affects a person’s intrinsic goodness. It is unclear what happened to Xander’s soul during his brief possession but the instance is never brought up again.

Season 2 Episode 20 – Go Fish

Yet another ‘monster of the week’ episode; the school’s swim team gets turned into sea monsters (again, it happens). Buffy goes on a date with a member of the swim team when she turns down his advances he locks his car door stopping her escape. When he tries to touch her she breaks his nose on the steering wheel. Buffy is blamed by the school for the way she dresses, almost every woman has heard that at least once!

The episode culminates with Buffy being thrown into a sewer with the monstrous swim team by the evil coach. The coach remarks that ‘his boys have already eaten “but boys have other needs”. Threatening our 17-year-old heroin with gang rape. Buffy of course jokes about her predicament and is saved in the nick of time. 

It could be speculated that as Buffy is a metaphor in itself that the writers were trying to make a statement about how female victims of young male sports stars are treated.

Season 6 Episode 1 & 2 – Bargaining 

Season 6 is extremely controversial within the Buffy fandom. Arguably the most polarising of the seasons. Whether you love it or hate it (I love it, just putting that out there) everyone agrees it’s the darkest season. Fittingly the season opens with Buffy being brought back from the dead and digging herself out of her own grave. 

A gang of heavily pierced demons is attacking the town and is torturing the Buffybot (a replacement robot for the erstwhile slayer obviously). The head demon refers to Buffybot as “nothing but a toy, a pretty toy” in a sinister and arguably sexual way before we see her being torn limb from bionic limb. 

If that’s not bad enough the head demon threatens Buffy’s friends (Xander, Anya, Tara, and Willow) by saying; “we’re just gonna hold you down and enjoy ourselves for a few hours”. He also brags about his gang’s “anatomical incompatibilities that tend to tear up little girls”. The blatant and graphic threat of gang rape disturbed a lot of fans. Was this a sign of things to come with the new direction the show was going in?

Season 6 Episode 19 – Seeing Red

And here we are. We couldn’t talk about the most controversial season of Buffy without discussing its most controversial episode. Seeing Red has fan favorite Spike (vampire) attempting to rape Buffy in her own bathroom after she is injured while vampire slaying. 

Throughout most of season 6 Buffy and Spike kindled a sexual relationship. Despite the writers prefacing the two as a metaphor for a toxic relationship, the couple are championed by fans to this day.

The scene itself is horrific. I can recall watching it when it was aired at the age of 12 hesitantly through my mum’s plants it was that awful. On a recent rewatch I committed myself to watching it again thinking it can’t be as bad as I remember, despite always fast-forwarding that bit on my videos (yes, I’m that old). It was as bad as I remembered. 

The scene was heavily choreographed with alternating close-ups of Buffy and Spike (separately) to inspire the audience’s empathy with each character. Along with the being so brightly lit, the scene is extremely disorienting. The choice of lighting makes the actors look all too human.

Encouraging empathy for both victim and perpetrator during a rape scene is an interesting premise. Personally, I liked how multilayered and complex Buffy and Spike’s relationship was for what was billed as a teen drama. But I, like many, was traumatized by this scene. James Marsters, who played Spike, calls shooting the scene; “the darkest professional day of my life” (Marsters J, 2024) and sends him to therapy. Buffy herself, Sarah Michelle Gellar (Gellar S, 2024) is quoted as saying that she skips that particular episode while watching with her young family. 

Many conspiracies were discussed after the airing of the episode. Many thought that it was creator Joss Whedon’s way of getting the audience to hate Spike. Whedon made no secret about hating Spike and had to be talked into making the series regular due to his popularity. As tempting as it is to blame Whedon, he was barely involved in the show at the time. 

It is commendable that Marsters (outing myself as a fangirl here) is willing to honestly talk about how the episode affected him personally and the fanbase. Unfortunately, the show failed to properly address Buffy’s trauma. Despite showing her having PTSD-like flashbacks to the attempted rape when seeing Spike again in Season 7. 

To me, Buffy has always embodied everything that is great about being a woman. She’s strong, resilient, and unapologetically feminine. Her story is one of triumph against all odds while still staying true to herself and empowering her friends along the way. As Buffy is a feminine story perhaps it is appropriate that it shows the unfortunate side of being a female presenting person. Women are assaulted regularly and usually by close friends someone they are on a date with or someone they’ve had a sexual relationship with. Many have argued that the handling of these scenes was clumsy or even irresponsible. This may be true but having someone as inspiring as Buffy Summers overcome and thrive after an assault could prove that anyone can and make victims feel less alone.

Buffy is, as always, a source of strength for many.

Sweetpea is a new dark comedy series created by Kristie Swain and adapted from a novel series by CJ Skuse. The series stars the ethereal goddess that is Ella Purnell (Fallout, Yellowjackets) using her actual English accent! 

Purnell plays a young woman whose name is not actually Sweetpea, though she is very much a wallflower. Though even Wallflower might have too much gravitas, Rhiannon (Purnell) is treated by those around her like a weed. She is stepped on and ignored by everyone except her dad and pet chihuahua. Many have argued that Purnell is just ‘too pretty’ to be that abjectly ignored by everyone. However, Purnell is an amazing actress who plays the washed-out, doe-eyed, shrinking ‘sweetpea’ so convincingly. 

Rhiannon was bullied heavily in school which led to her developing trichotillomania (a hair-pulling disorder) which ultimately caused bald patches on her scalp. She still keeps an unconvincing brunette wig in a drawer in her bedroom. Rhiannon’s dad is constantly encouraging Rhiannon to stand up for herself. Unfortunately (light spoiler!) Rhiannon’s Dad dies from his illness in the first episode, leaving her alone in the world. 

Rhiannon returns home to the large empty house she once shared with her dad. After yet another tragic incident Rhiannon looks at her life, her thirst for revenge is obvious. Particularly against her main school bully Julia Blenkingsopp (Nicôle Lecky).

Rhiannon sees Julia as having a perfect life and didn’t peak in high school “like bullies are supposed to do!”. When Rhiannon returned to work as an admin assistant for a local paper, not only did none of her colleagues notice her absence but they didn’t acknowledge her return. The only person who appears to talk to her is her boss Norman played by Jeremy Swift (Ted Lasso) who condescendingly calls her “sweetpea” and demands tea. 

Rhiannon’s mental state declines enough for her to finally confront Julia in a club. Julia and her friends laugh at Rhiannon which brings memories of school back and anxiously tugging at her hair. This leads Rhiannon to commit a horrifying yet liberating crime when leaving the club leading to a whole new way of expressing herself.

What I Liked:

I enjoyed watching Rhiannon’s confidence grow throughout the series. Purnell herself spoke about the production of subtlety added makeup to subconsciously influence the change in her. Rhiannon transformed from a shrinking girl to a hip-swaying, go-getting career woman. Yet its clear there is a lot of mental turmoil within Rhiannon. Purnell (2024) jokes that she actually “got kinda jacked”  due to the tension she held in her body whilst suppressing Rhiannon’s rage. Purnell also comments on how freeing it was to let it all out which Rhiannon does many times and is just as satisfying for the audience!

Initially, I found every character rather one-dimensional and stale compared to Purnell. However, as the show progresses most characters become multifaceted, particularly Julia. The narrative of the show really makes you question your own morals and sense of justice. You find yourself making excuses for Rhiannon and almost cheering her on when you really, really shouldn’t.

I also enjoyed how the show explores the victim complex. Is Rhiannon really a victim or has she taken on this mantle and lived her life accordingly? Sweetpea expertly plays with the shades of grey in the ideas of what makes someone a bully and what makes someone a victim. 

Sweetpea fits in perfectly in the genre of British black comedy. Scenes like when Rhiannon is clearing out her chest freezer and then climbs in herself to see if it could potentially fit a body. The door of the freezer almost closes on her but she catches it just in time. This scene perfectly captures just what kind of character Rhiannon is.

I also liked how the character’s houses were used as metaphors for their lives. The home Rhiannon shared with her father is messy and cozy yet in desperate need of TLC and repair much like Rhiannon herself. You can tell it’s a well-loved home with a long history much like Rhiannon and her father’s relationship. In stark contrast to Julia’s fiercely stylish and minimalistic home which she shares with her fiancé. It’s sleek and modern yet ultimately empty with little sign of love. 

The opening credits and music choices are also fire.

What Could Be Improved:

Like many others, I didn’t quite believe someone as beautiful as Purnell would be completely ignored by the general public. It did look at times like they were relying on drab clothing and too light foundation to make her look mousey. However, as stated, Purnell’s performance does save it.

The main ‘love triangle’ (if could even call it that) was a bit forced. Calam Lynch’s portrayal of Rhiannon’s colleague ‘AJ’ was a bit too enamored with Rhiannon with no real build-up. However, I found myself really enjoying Jon Pointing’s portrayal of ‘Craig’ and wishing his arc had been explored more. 

I really wanted the show to lean more into the exploration of ‘abuser’ and the ‘abused’ and take it to a deeper level. Maybe in series 2?

All in all, I enjoyed this traverse through Sweetpea’s world. I am interested to see where they go with it in the future.

Three and a half stars.