Deadloch: Challenging Crime Drama Norms with a Feministic Twist

Upon discovering that nearly 80% of all homicide victims recorded worldwide are men, I have grown increasingly baffled and sick of the prevalence of female victims in crime dramas. However, I am not alone in this sentiment. Kate McLennan and Kate McCartney, an Australian comedy duo and the creators of The Katering Show and Get Krack!n, share similar thoughts and feelings. McCartney questioned the overrepresentation of female casualties in crime movies, adding that "[she] just don't know if there is a single crime show that - if it's not in the first two minutes of a murder show, then [one] will still eventually see a dead woman." McLennan echoed her sentiment, noting that while crime dramas often depict the body of a deceased woman, they frequently include gratuitous shots of her breasts.

In retaliation against this phenomenon, McLennan and McCartney debuted their new crime show, Deadloch, on Prime Video in June this year. The show revolves around two female detectives who lead the investigation of a serial murder case whose victims are heterosexual white men. McLennan, one of the screenwriters of Deadloch, explained that they were more interested in telling stories about women who are often depicted as silent victims in crime narratives. When asked why men were chosen as victims, McLennan’s response contained the same dark humor and self-mockery that were injected into their production. She replied that they are “just terrible at writing men so it was easier to have a dead one instead of writing dialogue for him”.

The story of Deadloch takes place in a made-up town called Deadloch, located in Tasmania, Australia. Dulcie (Kate Box), a female police officer, wants to relax and enjoy some quality time with her wife Cath (Alicia Gardiner). But when a naked male body is found on the beach, she is forced back into detective work. Eddie (Madeleine Sami), a higher-ranking female police officer, is assigned to the case but her rash and reckless working style draws Dulcie’s dissatisfaction. However, with the rise in the number of mysterious deaths, Dulcie and Eddie must work together to solve this serial murder case.

To some extent, Deadloch can be described as a comedic version of Broadchurch. McLennan and McCartney even dubbed it "Funny Broadchurch" - "but without the pedophilia". Despite sharing many similarities with Broadchurch, such as a peaceful seaside town, two detectives with differing personalities, and a complicated murder case, Deadloch is more than a typical crime drama. The investigation process in its narrative serves to unravel the story, rather than to expose and denounce criminal behaviors. The narrative focuses on the town's inhabitants of varying backgrounds, including the police, victims' families, friends, and even suspects, depicting their living conditions and inner thoughts. Comparing it with other crime TV series, one significant driving force of Deadloch’s narrative is the gender swap between the detectives and victims, which lead to breakthroughs and innovations in the crime genre.

In the opening scene of Deadloch, two 17-year-old girls find a male body on the beach. They are terrified at first, but then, one of the girls, Tammy (Leonie Whyman), accidentally drops marijuana ash on his penis. Tammy then attempts to extinguish the fire, which transforms the initially solemn and suspenseful atmosphere into a hilariously humorous one, thereby establishing Deadlochs style as a combination of crime and comedy. Close-up shots of the victim's body parts seem to mock and satirize many similar crime dramas. When the victim is revealed to be a man, the insult inflicted by McLennan’s attempt at mocking the strategy of displaying the victim's chest becomes more real and tangible. It is important to note that many viewers are accustomed to looking at female characters and their bodies through their screens and do not realize the offensiveness of such behavior. This is one of the three aspects of the male gaze, which is the viewer's perspective. Only when the person being viewed is a man will the audience discover that the scrutiny of female body parts is essentially an act of objectifying and violating women.

Although Deadloch has female creators and protagonists and features men, it does not necessarily achieve the female gaze. In the movie, the town has a female mayor and female police officers, and there is a documentary screening that reveals facts about the uterus, whereas white men are constantly being murdered. Some male residents even mock that the town is a "lesbian paradise." However, Deadloch is far from one - despite having several lesbian characters in the show. Conversely, even in this seemingly female-friendly community, women are still unable to escape the possible setbacks and challenges of being trapped within a patriarchal system. Stories with female protagonists created by female creators are centered on women's voices and perspectives. However, this does not serve to retaliate against the male gaze, but to promote women's liberation.

Deadloch goes to great lengths to showcase the collective image of women in the small town and the difficulties they face. As the sole senior police officer in town, Dulcie's male boss often forgets her last name and assigns other officers to lead the murder investigations. Another policewoman, Abby (Nina Oyama), is meticulous and always picks up key details during investigations. However, her fiancé, James, a forensic pathologist, belittles her ideas and even takes credit for her discoveries. Mayor Aleyna (Susie Youssef) is anxious about making sure the town's music festival runs smoothly and has to deal with her fault-finding male political opponents. Additionally, some women in the town live with their husbands’ cheating and domestic violence. Despite appearing to be a "women-friendly" community, Deadloch still adheres to the principle of male dominance, creating an unwholesome atmosphere of toxic masculinity. The women suffer in silence until murders take place one after another. They mark a dark time for the men in the town, which has somehow become a turning point in those women's lives.

When men are killed in a series of murders and the police are unable to catch the culprit, the men of Deadloch take to the streets to demand their right to travel safely outside at night. If Ken's experience in Barbie Land of Barbie reflects the reality of women’s survival to some extent, then the men’s fear of being murdered in Deadloch does somewhat the same too. However, just as Ken is being ignored but not enslaved in Barbie Land, the men in Deadloch are able to express their concerns and demand change. They protest with slogans that write "We don't want to live in fear" and "The murderer of men is the problem", whereas women in the real world are constantly given the “kind” reminder to not stay outdoors at night for their own safety.

Deadloch's satire does not just stop at exposing its male characters to the same fear that women experience in reality, but it goes on to make the statement that "these male victims are usually the abusers" through the protagonists’ words. Such accusation and satire of reality make the story truly admirable. For any crime drama fan, the complexity of the cases and deduction and investigation processes in Deadloch are not particularly unique. Additionally, the pairing of a calm detective with an impulsive one is nothing new. Also, the assertion that "men kill for fame, women kill to solve problems" seems overly simplistic.

Deadloch's breakthrough in the crime genre is attributed to its unique female perspective. The series, which is dominated by women, imitates and satirizes the typical patterns of men-centric crime dramas. It is an important attempt at promoting feminism in crime shows and exposing the underlying misogyny. The creators and characters exhibit a clear awareness of reality and resistance to collective misogyny, serving as an inspiration that transcends fiction and reality. This show is a message to individuals who are tired of the mainstream, men, and white people narratives - we have the power to share our differing views to bring about change as our voices can be heard.