Fans missed the Seven Deadly Sins connection to Gilligan’s Island

There are many ways to interpret Sherwood Schwartz’s 1964 sitcom “Gilligan’s Island.” Written by author Paul A. Cantor once wrote in his 2001 book “Gilligan Unbound: Popular Culture in the Age of Globalization” The series presents an ideal version of American democracy. Cantor’s thesis noted that the seven castaways in the series all came from different American classes—there were two millionaires, a college professor, a farmer, a military couple, and an artist—but when they were forced to live on a deserted island together, they became fast friends. Not only that, they also thrived. Schwartz is said to have confirmed Cantor’s thesis In an obituary printed in the Washington Post.

Many (including this author) see a Sisyphean element in “Gilligan’s Island.” Every episode begins with hope. Often, someone or something new washes up on shore, offering the castaways a chance to escape. However, the opportunity is constantly wasted, often through Gilligan’s stuttering. Each episode then ends on a note of despair, as the seven castaways lament their inability to leave the island. Gilligan is almost a cosmic being, a holy fool designed to unwittingly punish those around him. “Gilligan’s Island” takes place in a cartoon world of dark despair.

There’s also a fan theory, which often appears in informal analyzes of “Gilligan’s Island,” The seven stranded outcasts are cosmically imprisoned on Gilligan’s Island for their sins. In fact, since there are seven of them, one might be quick to note that each of them could be a symbol of the seven deadly sins. While Sherwood Schwartz saw Gilligan’s Island as an ideal democracy, He also admitted to NPR in 2008 That each character actually has a sinful flaw derived from the Seven Deadly Sins.

In the NPR list, Szhwartz was specific about the outcast representing mortal sin. Professor Russell Johnson was experienced, but he often let his knowledge give way to pride. Millionaire Mr. Howell (Jim Backus), with his hoarding of wealth, was a useful avatar for Greed. Although she was not overtly sexual toward any of her compatriots on the island, Ginger (Tina Louise) was often flirtatious and lustful, making her the avatar of lust. Mary Ann, a simple countrywoman, often expressed envy when looking at her fellow outcasts. According to Schwartz, it was Mrs. Howell (Natalie Schiffer) who was most often angry and impatient, giving her a mantle of anger. Actor Alan Hale was not allowed to lose weight While playing the role of Skipper, which meant he was Gluttony’s avatar. And of course, the hapless and unmotivated Gilligan (Bob Denver) was the Sloth Company’s representative.

This is an interesting theory, although it doesn’t hold much credence with Ms. Howell. Mrs. Howell was not an angry person. She was funny because of her ignorance and lack of class awareness. She may have been guilty of pride or greed, but not of anger. If anything, the Skipper is the grumpy character, often losing patience with Gilligan and hitting him with his hat. Also, the skipper may have been obese, but he never expressed much outward gluttony. Perhaps there was no gluttony on Gilligan’s Island, but two avatars of greed.

If one wants to turn the theory of the Seven Deadly Sins into more general theories of ancient literary tragic flaws (called hamartia in Greek theatre), perhaps this explanation is better. Perhaps all the characters display doubt in their ability to escape or arrogance in their supposed control over the elements; They didn’t He owns To go on that three-hour tour. However, tragic flaws usually only come from tragic characters, and the cast of “Gilligan’s Island” are all comedic characters.

If we’re talking about comic characters, the Minnow’s survivors are not deadly sins or tragic heroes, but more likely archetypes from the centuries-old Commedia dell’Arte tradition. Comics, for those who haven’t studied them yet, typically use a limited number of stock characters in their stories, and these characters usually wear the same costumes and/or masks from production to production. The most famous example of comedy is Arlecino, a bumbling clown. His name would eventually be translated to “Harlequin”.

Gilligan is clearly an Arlecino. Meanwhile, the skipper fits Scaramuccia’s ostentatious military mold. Mr. Howell, an older, wealthy man, is clearly Pantolone, and the Professor, a learned type, is Ile Dutour. Ginger may be Jianduja, although she is a peasant character who usually drinks a lot. Unfortunately, there is no equivalent of a “movie star” in comedy. However, Mary Ann fits well into the role of Columbiana, a cheerful, maid-like character. Mrs. Howell, being a counterpart to Mr. Howell, is merely a minor pantolon.

However, actual scholars of Italian theater may wish to come to terms with their own theories.

There is also a postmodern interpretation of the characters as presented in Tom Carson’s ambitious 2003 novel “Gilligan’s Wake” Which gives each of the outcasts elaborate, often very tragic, backstories. Gilligan was mentally ill in this rendition. Mr. Howell was guilty of many crimes, and Mrs. Howell could hardly tolerate her husband. Ginger had engaged in secret affairs with well-known celebrities, while the skipper had lost friends in combat.

That there are so many theories about “Gilligan’s Island” is simply evidence of how deeply the series has permeated the popular consciousness. He will live forever.