The Revival of the Dead Wife Trope: What Should We Expect?

Many individuals have observed a concerning trend in cinema: an increase in narratives featuring deceased or abducted women as mere plot catalysts for male protagonists. This raises the question: what is driving this resurgence?

I was struck by this pattern while watching *Carry On* on Netflix, where terrorists threaten a TSA agent by claiming they have his pregnant wife under their surveillance, ready to kill her if necessary. While the film offers a nostalgic nod to the ’80s action genre reminiscent of *Die Hard*, one has to wonder—who is genuinely nostalgic for the “damsel in distress” trope? Adding to my concerns, I noticed trailers for upcoming 2025 releases that followed similar lines. The first, *The Amateur*, revolves around a CIA operative avenging his murdered wife, while *Novocaine* follows a pain-resistant man on a quest to rescue his kidnapped girlfriend. And let’s not forget Paul Mescal’s character in *Gladiator II*, who embarks on a journey fueled by the death of his wife.

(Kudos to *Gladiator II* for at least granting the doomed wife an impressive end in battle. Yet, it’s evident that her role is merely that of an “inciting incident,” ultimately relegating her to the role of a stereotypical “woman in a refrigerator.”)

Why the ‘Woman in Peril’ Trope is Tiresome

It seems that when given enough freedom, many male writers revert to a storytelling formula akin to the Super Mario Brothers narrative style. They trap the metaphorical princess in a castle (or coffin), using her as a means to propel the male lead’s journey. My expectation is not that every female character must survive or rescue herself in perilous scenarios, but rather that the constant portrayal of women solely as motivators for male actions—even unto death—is disheartening. As a viewer, my engagement diminishes when the character I’m meant to empathize with is reduced to merely screaming and succumbing.

In a broader narrative context, this leads to even more vexing tropes: male characters distancing themselves from female counterparts to ensure their safety. I commend Danai Gurira, writer and actress from *The Walking Dead: The Ones Who Live*, for addressing this patriarchal notion with a pivotal line from her character Michonne: “I only feel safe when I’m with you,” directed at Rick Grimes (Andrew Lincoln). If you found yourself in a relationship with a man projecting ‘main character energy’, would you feel any different?

A narrative isn’t inherently sexist just because a sexist antagonist is involved; it is expected for bad individuals to perform villainous acts. It’s essential to recognize that a single instance of a problematic trope doesn’t automatically denote offense. However, when discernible patterns emerge, they merit scrutiny. The focus should shift to the storytellers who continuously choose to recycle these archetypes.

The Resurgence of Dead/Kidnapped Wives: A Modern Concern

Tropes like these never truly fade away. Even modern superhero flicks occasionally reach into this narrative well. For instance, *Road House* (2024) features a kidnapped girlfriend, and nearly every character in *Bullet Train* (2022) harbored a tragic backstory involving a deceased wife. While *Dungeons and Dragons: Honor Among Thieves* plays on this familiar trope, it cleverly reframes it in an unexpected manner, suggesting that a shift towards more innovative storytelling was on the horizon.

So, what prompts recent action films to revert to these age-old formulas? One interpretation could be that Hollywood is reacting against perceived “woke”narratives. After getting too comfortable with the idea of assertive female characters, it appears we may be swinging back towards outdated archetypes. This shift warrants attention, particularly given the emergence of traditionalist movements in popular culture.

Alternatively, it may simply be a product of creative fatigue or carelessness. Writers steeped in narratives where a woman’s demise serves to propel the male hero do not consider it problematic. For them, this approach feels as natural as incorporating a quirky sidekick or wise mentor. To creators everywhere: I implore you to focus on more innovative methods to drive your hero’s motivations—killing off wives or abducting girlfriends is not the only path!

I genuinely wish to champion original narratives over the rehashed intellectual property that floods cinemas today. Yet, the recycling of these tropes feels stale and uninspired. Even an acclaimed director like Christopher Nolan, notorious for utilizing dead wife backstories, is currently adapting *The Odyssey*, a tale featuring a famously living wife. The stakes surrounding Penelope pale in comparison to the trials faced by Odysseus. If Nolan can achieve this, why can’t others?

I can remain cautiously optimistic, hoping that Rachel Brosnahan and Amber Midthunder were not merely cast to scream and perish in *The Amateur* and *Novocaine*, respectively. Given Midthunder’s strengths in action roles, there is potential for these films to offer them more complex stories or plot twists. Nevertheless, the traditionalist representation seen in the trailers does little to excite me or inspire me to seek out these films.

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