I've been avoiding Ginny and Georgia for years now despite (in spite of?) how many times it's been recommended to me. Things changed, however, when I was pulled into the middle of a long, hard debate as to whether Georgia was a good mother or not.

Surprisingly, it wasn't easy coming to any conclusion, and ultimately the group discussion ended up on an impasse, split down the middle. The only real consensus was that Georgia was perhaps not a morally sound person— she'd done some bad things.

Now, of course, at this point, I had nothing really to add onto the conversation, so I sought some answers through Reddit. Which brought me to this:

She's Evil:

"Geo[r]gia is a manipulator, a liar, a thief, and a killer. She is not a good person, period. ... I think this show just push radical feminism and "all men are bad, all women are good" ideology further." - Unlikely_Bluebird892

"She’s hot and charismatic, so people overlook all the insane shit she’s done" - Lem__Mann7

"The only reason she looks good is because she’s being compared to several sexual predators and violent abusers. In comparison to literally anyone else on the show, she’s quite literally the devil. I think the writers did the most this season trying to show that but somehow people aren’t getting it." - Curlingby

She's not Evil

" I love Georgia as a character, I also know Georgia isn’t the hero everyone wants to pretend she is." - FiftyOneMarks

"Georgia's struggles are very understandable and realistic given the absolute horror that she's come from. We do and should have sympathy for what she's been through ... That she is the way she is makes sense." - Impressive_Golf8974

And, then, of course, I watched the show.

I kept returning to the "radical feminism" comment as I watched each episode. Something about the way that Georgia was being villainized wasn't sitting right with me. It's not that she isn't doing anything wrong, she is: murder and theft are bad, but the lens being used to attack her identity felt unforgiving and unfair as opposed to male counterparts doing much worse things. To compare her to "Joe" from You, for instance, is a stretch because it undermines the complexity of her character. At its core, Ginny and Georgia is about trauma and how it is passed down. Georgia, who is struggling to survive traumatic experiences, is a product of her environment. To then go ahead and define her as psychotic, takes away from the criticism that I think this show is trying to present. Perhaps I'm overreading, but I don't know, I think there is a fundamental issue and disparity between the way her character is perceived compared to others.

A better example to Joe would be Amy Dunne from Gone Girl. What's different about her compared to Ginny is that she is actually a psychopath. Her motivations are fundamentally different, they are simpler: she wants Nick to respect her ... which makes her easier to consume as viewers. Amy and Joe both have a misplaced sense of righteousness, a faulty rationale/logic, and a lust for blood. Grouping Georgia's actions with theirs removes the weight of Georgia's experiences. 

Similarly, calling her a radical feminist also dismisses the layers to her character. I mean, I guess there are feminist themes within the show, but I don't think this show is about feminism at all. Perhaps Georgia poses an alternative to the suburban mother in this small town of Wellsbury as the unhinged woman who subverts all the gender norms imposed on women, but I don't think she is meant to be an empowered character. Arguably, I don't even think she is a feminist role model or is supposed to be. I think she is constantly put in situations where she is disempowered, and the following reactions (murder, theft, lying) are the exaggerated consequences of a system that has failed her. This is an important distinction because the show asks us to consider intentionality and context. Sure, she's a killer. A liar. A manipulator. But, she's also a survivor. A protector.

When faced with a more complex character like Georgia who is influenced by trauma and a desire to protect, who understands— to an extent— the moral lines that she is crossing, I think it becomes difficult to place her. Following this line of logic, I would argue that she's not meant to be placed anywhere because she is the example of someone who has slipped through the cracks and is trying her best to get back. The story isn't even really about her; it's about the world and how the cycle of trauma follows her. She is a broken woman, trying to keep together. To take that context away, to define her as one or the other (evil or feminist) are both too extreme because they take away the flesh of the story.

Which leads me to the other side of the conversation. That is to say, is it fair to give Georgia that much forgiveness?

I don't know. But, then, again, I am not here to give an answer. I'm here to write a story. Here is Georgia if she were actually evil.

Aww, sugar, it's not that hard, I swear. Just a little sprinkle and a quick little stir. Nothing to cry home about.

Besides, ain't like anyone's gonna notice. Or miss him.

Georgia wipes the blue staining her fingers against the waist of her jeans. No one could notice the tremble, not from behind the counter. Besides, it's not like Gil was paying any attention. His eyes were glued to her daughter who was bending down to grab her fork.

"Anyways," Georgia snaps a little too loudly, tearing the blender off its stand before it even fully stops whirring. Gil's neck snaps towards her. She pours the drink wildly into the glass, keeping her eyes steady on him. It's easier the second time, less nervousness. He blubbers, mouth moving up and down as if caught red-handed. Georgia grabs the glass and saunters towards him. She nearly slams the glass in front of him. Some of it spills over her bright, pink nails, "What's wrong, sweetheart? You're sweatin' like a hooker in Church."

His blubbering increases.

"N-nothing," he stammers, grabbing the glass and taking a large gulp to buy time. She eats him up with her eyes.

"Time's a bitch, ain't it?"

"What?" The poison hasn't taken effect yet. Georgia crosses her arms waiting.

"Mom?" Ginny stands up.

Georgia pays her no mind. There is something far too delicious about the moment before everything comes crashing and Georgia wants to see the fear in his eyes.

"Go on, Ginny, don't want to be late for school," Georgia smiles brightly but she keeps her eyes glued to the man with the blue stained lips. His hands shake, "This is a matter between me and Mr. Moony-eyes over here."

"I wasn't—" Gil's voice trembles. Georgia cuts him off.

"Oh, hush now."

"Mom," Ginny hovers uncertainly, glancing between the both of them. Georgia gives her a dark look. With a sigh, Ginny grabs her bag and leaves.

If the rage wasn't buzzing so loudly, perhaps Georgia would have noticed the spark of fear ignite in her daughter's eyes. As it is, rage had long since taken over. Her vision flashes white and red.

Gil coughs.

"Aw, honey," she tsks, leaning over him. She gently moves the cup away as he begins to choke, "Don't want to make a mess, do ya?"

"What did you do?" He chokes out.

"Nothing!" Georgia exclaims, all wide-eyed and innocent.

Gil splutters. Hot, red blood splatters down his chin. Georgia chuckles and uses a napkin to smear it over his face. Foam forms and edges down his lips. His eyes roll back.

"Uh-uh-uh," Georgia slaps him awake. He wheezes. Georgia steps back towards the counter and pulls open the knife drawer, "I ain't done with you yet."

"W-why?" He hisses breathlessly, clawing at his throat.

"I saw you," Georgia's smile drops. She points the knife at him. When he doesn't flinch, she grabs his shoulder and lets the knife dangle right above his eye.

"N-n—" he tries to speak. His body begins to tremor.

"I know, I know, you weren't looking, it meant nothing," she shrugs and then just before the convulsions can fully take over, Georgia jams the blade straight down, "Maybe I just wanted to."

The moment falls anticlimactic without Gil's scream. It gets caught in his throat, mid-shake, and then he falls deathly still.

"Well, shit." She tries to twist the knife out. She went a bit too deep, straight into bone. Ruined the eye. It plops out, mostly goo. Oops. Okay, so she got carried away.

The vitreous splatters over the table and floor. Over her clothes. Georgia is far past caring, a deep, warm euphoria glows from inside of her. But she isn't done. His other eye stares at her, daring her to finish.

She pushes away from him. If he'd been somewhat of a gentleman, he wouldn't have made such a mess. God knows Scott didn't. The drawer creaks open, resisting her as she pulls. It takes some wild digging to get to the grapefruit spoon; God, he's getting onto everything. She'll have to run the dishwasher again.

Squelching fills the room. In no time at all, his eye is in her hand, intact and bright with terror.

At his sudden disappearance, Georgia tells the kids he moved to Alaska.

Obviously, Ginny is growing to be a bit mouthy, so Georgia has to switch up tactics. A win for motherhood, if she might say so herself.

"I did it for you," she looks at her daughter, resolute and sincere.

"For me? He didn't even do anything!"

"He did, honey, trust me. I know those kinds of men," Georgia reaches out towards her, but Ginny jerks away. Georgia sighs, "I did what I had to do. You'll understand one day."

"Don't lie," Ginny narrows her eyes, "You didn't do this for me. You did this for you."

"Ginny—"

"No, Mom," Ginny shakes her head, her bottom lips begins to tremble, "Don't you dare put this on me. You did this because you wanted to."

"He was looking at you funny—"

"No, I thought after Scott that you were done. But you weren't, were you? You like it," Ginny cuts her off. Hot tears roll one after the other and all Georgia can think about is how Gil's eye dripped down her forearm to her elbow, warm and thick.

"Are you even listening to me?"

"Yes!" Georgia snaps her attention back to her daughter, "Of course I am."

Ginny rolls her eyes and stalks off. The front door slams shut.

In the silence of her daughter's bedroom, Georgia immediately notices the rustling of the tree branch by her window. She spots him almost immediately, scattering back down.

"Oh no, you don't," Georgia mutters. She storms over to the window and pops her head outside, "Get yourself up here now."

His boots gently thud onto the hardwood floor. His breathing is heavy. Georgia grins. Something about his youth feels so shiny. Georgia almost wants to hold it close to her. It would be so delicious if she could get away with this. Her heart pounds.

"Don't even think about it," Georgia warns just as the boy opens his mouth.

She gently shuts the door.

Comic strip hand drawn by the talented @Ishika (Make sure to check out her account!)

In comparison to these scenes, what do you think: Is Georgia evil or not?

(Write your thoughts in the comments!)