NOUGHTS AND CROSSES
One locked-down night I was searching for something to watch on TV as I and the whole world hunkered down in our homes in an effort to slow the spread of what’s being called *The Rona on social media streets. Having exhausted my usual option of channel-hopping, I had a look at the suggested shows on my satellite TV provider and “Noughts and Crosses” caught my attention. To my absolute astonishment and excitement the show opened with a prologue purporting that 700 years ago, Africans (called Apricans in the show) had invaded Europe and colonised the continent, including the United Kingdom (called Albion in the show). Well, this I HAD to see.
Adapted from a series of novels by British author Malorie Blackman, the 6 episode romantic drama takes place in 21st century Albion where Apricans, or Crosses (Black), are still in power. Of course, not everyone is happy with the current state of affairs, resulting in a group of terrorist Albions, or Noughts (White), being hell-bent on using any means necessary to overthrow the government and gain independence for Albion. Taking centre stage in this somewhat dystopian setting is a story of forbidden love in almost Romeo-and-Juliet fashion. Callum, a Nought, falls in love with Sephy, a Cross, in a society that outlaws interracial relationships.
Now I’m a sucker for a love story, especially that of the forbidden variety, but as someone who was born and raised in a country (South Africa) that was once colonised by both the Dutch and the British, I was more interested in seeing what this alternate reality looked like. Just how colonised was Albion? On the surface, it was evident in the set and costume design that was distinctly African, with African prints adorning the buildings and African inspired fashion worn by both Noughts and Crosses. Particularly striking were some of the role reversals, such as a White domestic worker under the employ of a Black family and their interactions with one another. That had me all the way shook. The police brutality experienced by Noughts at the hands of Cross law enforcement felt like a throwback to apartheid South Africa…and a stark reminder of some experiences African Americans have had with police in present day America. But after considering the effects of colonialism on a nation and its people, “Noughts and Crosses” rang a little hollow.
Part of the process of colonisation is the enforcement of the identity of the coloniser on the colonised, whether it’s their language, religion, cultural customs, economics, currency, system of government, you name it. The Apricans in “Noughts and Crosses” seemed to have assimilated into Albion (or British) culture, as opposed to the other way round. Part of the problem is that it wasn’t clear what Aprican identity or culture was in the context of the show. They were Black, upper-class, and dressed in African garb. Little else. Certainly they controlled the systems of Albion society, but those systems reflected a European structure. The system of government, for example, was British, with a Prime Minister, a cabinet, etc. Greater effort could have been put into showing the true impact of colonialism on Albion. The Noughts’ use of the word “Baba” for “Father” as part of their adoption of an Aprican language (not sure what that was because everybody spoke English) just did not suffice. Then, the irony of it all was the White male lead as the hero of the story, reinforcing that all-too-familiar trope. Ultimately, for a show that was set up to be subversive, “Noughts and Crosses” falls a little short.
Still, despite its shortcomings, “Noughts and Crosses” is a decent piece of television. As a passionate love story peppered with political drama and intrigue, it’s entertaining and enjoyable, and the cast of British and South African actors give excellent performances. One can only hope it does justice to the books.
*Corona Virus/Covid-19
Reviewed by Intersectional Critic and Activist SM
Intersectional Critic as Activist 