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<\/a>The phrase “Is there a doctor in the house?” \u00a0originally comes from the theater world: if an audience member fell ill, the stage manager would yell out for any possible immediate medical assistance from the “house”, i.e., the audience section of the theater.<\/p><\/div>\n
Both Xena Warrior Podcast<\/a> and Xena Warrior Business<\/a> reviewed Xena Warrior Princess<\/span>\u2019s first season finale, Is There a Doctor in the House?<\/span> and they both thought the episode was an odd choice for a season-ender. Why not end the first season with\u00a0Callisto<\/span>, with its introduction of Xena\u2019s key foil, or Death Mask<\/span>, with a plot that offered a logical book-end to the first episode by showing the man responsible for Xena\u2019s dark path? Instead, we have an episode about healing, slightly silly guest shots of famous Greek physicians, a grotesque centaur baby, and the highly coincidental return of Amazon Ephiny out of the blue,\u00a0<\/span>in a seemingly haphazard plot turn from the previous two episodes. Both podcasts explain the apparent arbitrariness of this episode by pointing out that it originally was to have aired earlier, but due to editing issues, was postponed until the end.<\/p>\n No doubt, and in terms of story arcs, it does seem to be a left turn, but I think this is a more appropriate book-end for the first season when you take into account its \u201clogic of aesthetics\u201d, as Rob calls his storytelling method. Let\u2019s take a closer look at this episode\u2019s ingredients and where they came from, and see how it wraps up the first season using poetry, not prose.<\/p>\n First, a reminder: I’m not trying to build a case for some hidden meaning in the show; we can all see\u00a0what it means. But the way<\/i> it\u2019s told, it\u2019s \u201caesthetics\u201d, as I\u2019ve describe it, is not always so apparent. Allow me to repeat these three points from the last essay<\/a>, about the show’s process:<\/span><\/p>\n Where does this episode take place<\/span>?<\/b><\/p>\n We\u2019re told Xena and Gaberielle are in a forest between Thessaly & Athens:<\/p>\n \u201cMaybe we should take the southern route,\u201d Gabrielle asks.\u00a0 <\/span>\u201cThis is the shortest way to Athens\u201d says Xena. \u201cThis forest is the only way between Thessaly and Mitoa. Whoever controls it controls\u2014\u201c. Xena is interrupted. Was she going to say \u201cthe route to Athens\u201d?<\/p>\n Probably few of us worried about the details of this exchange. It sounds vaguely urgent, without explaining why, and before we start to get really curious, they\u2019re interrupted. Chris Sims of Xena Warrior Business<\/a> actually tried looking up this information, and made what I thought was a revealing\u00a0discovery: according to Google Maps, when you ask it for directions from Thessaly to Athens, you get a path from Thessaly in the U.S., to Athens in Greece. That\u2019s because there is no Thessaly in Greece, in terms of an address of any kind. Thessaly is, and was, a region, not a town. It covers much of northern Greece. So where is Mitoa? Again, you will not find it on a map, because there is no such place, anywhere. Alison Stock of the same podcast accidentally refers to it as Minoa at one point, which is probably what the writers based the name on (Minoa was a Trojan-era settlement in Crete, nowhere near this area). This raises another question: why make up a name? Why not just pick some southern town facing Thessaly en route to Athens, like, say, Corinth? Or a region, like Sparta? After all, we\u2019re never really told anything about Mitoa specifically that would contradict our knowledge of any other town.<\/p>\n I think the reason why is that, like Thessaly, Mitoa is also a region, not a town. We know that Euripides was a strong influence for R.J. Stewart, and the subtext of Euripides\u2019 plays was the Peloponnesian War: he wrote about the Trojan War, but he actually lived through the Greek civil war, which is what his plays were really about. This war between Mitoa and Thessaly is also described as a civil war, and I believe this episode is the closest the show ever gets to depicting the Peloponnesian War. We even have a clue that this is the case, when we\u2019re told about a little boy named Piraeus: he never actually appears onscreen, but his name is one of the most famous locations in the Peloponnesian War,\u00a0 <\/span>the port of Athens. It\u2019s seven miles from Piraeus to Athens, inland, and during the Peloponnesian War this distance was protected by the Long Walls, whose construction was considered by Sparta to be a hostile act. The war ended when Sparta captured Piraeus, and they quickly demolished the Long Walls. This little boy has another significance as well, which I\u2019ll discuss in a moment.<\/p>\n What is this war about<\/span>?<\/b><\/p>\n Gabrielle asks this question as well, and Xena\u2019s answer is cut off. We\u2019ll be told later it\u2019s a religious war, but we only see one religion:\u00a0the Thessalians\u2019 worship of Asclepius, whose name in English means \u201cunceasingly gentle.\u201d This episode is set in his temple of healing, and it\u2019s odd that his religion would be the cause of all this senseless strife. If we look in Robert Graves\u2019 The Greek Myths<\/span>, we\u2019ll learn that it\u2019s a bit more complicated than that:<\/p>\n In chapter 50, we learn that Asclepius is from Thessally. His mother, Coronis, was impregnated by Apollo, who killed her when he suspected her of infidelity. Gazing at her corpse, he immediately regretted his action, but did not know how to restore her to life again. He called on Hermes to perform a Caesarean section on Coronis, saving the life of her boy, whom Apollo named Asclepius. He was taken to the cave of Cheiron the Centaur, who taught him the arts of medicine and the chase. He became so skilled in surgery and the use of drugs that he is revered as the founder of medicine.<\/p>\n Does this sound familiar? Of course! We have here the main ingredients of Is There a Doctor in the House?<\/span>! It\u2019s a perfect fit for a medical drama, by dramatizing the mythic origins of medicine. We can see the inspiration for Gabrielle\u2019s being raised from the dead, and the presence of the centaur storyline, including the birth of a centaur by a human, which would necessitate such a procedure. It makes sense, then, that Ephiny would reappear in this episode.<\/p>\n There\u2019s more to this myth: we\u2019re told that Athena made two drugs from Medusa\u2019s blood: one with the power to raise the dead, the other the power to instantly destroy. She gave Asclepius the power to raise the dead, while keeping for herself the power to destroy, and she used it to instigate wars.\u00a0<\/span><\/p>\n Athena is part of the \u201cGreek Subtext\u201d of Xena\u2019s story, and in a way, Xena has her attributes in this story: she\u2019s used her knowledge in the past to destroy, and now uses it to give life. In my previous post, we saw Xena stand in for Athena in the story of Ulysses<\/span>, and in my next post, we\u2019ll see her do it again, in The Price<\/span>.<\/p>\n So this is the mythical background for Asclepius, but Robert Graves doesn\u2019t stop there. He provides his own socio-political explanation of the truth behind the myth, which is relevant here. He interprets this myth as a depiction of ecclesiastical politics in northern Greece, an actual religious war between two colleges of healing:<\/p>\n \u201cApollo\u2019s Hellenic priests were helped by their Magnesian allies the Centaurs, who were hereditary enemies of the Lapiths, to take over a Thessalian crow-oracle, hero and all, expelling the college of Moon Priestesses and suppressing the worship of the goddess. Apollo retained the stolen crow, or raven, as an emblem of divination, but his priests found dream-interpretation a simpler and more effective means of diagnosing their patients\u2019 ailments than the birds enigmatic croaking.\u201d<\/p>\n<\/blockquote>\n This is all rather involved, and may seem a bit to esoteric for a Xena episode, but let\u2019s not forget that Rob Tapert was fascinated with religious history, and how religions evolved. Graves\u2019 book lays out an interesting way to basically dramatize Greek myth without having to rely solely on its fantastic elements. He has said that Xena<\/span> relied more on religious history than Greek myth, as Hercules<\/span> did, and I think this means, in part, that he relied more on Graves\u2019 interpretations of myth. In this case, the idea of a religious war, as opposed to merely depicting a battle between the gods.<\/p>\n You might ask: did the writer, a freelancer, do all this research for her one Xena episode? I think it was unnecessary. R.J. Stewart, in a 1999 interview for Cinefantastique<\/span>, said:<\/p>\n \u201cAs far as a freelancer goes, we generally give them the idea. We work and develop the idea with them and then when we get to the point where we think the story is right we send them off to do the script. Some of them hit pretty close so there isn\u2019t a lot of rewriting to do. Others miss by a mile and we have to do a pretty big rewrite. That\u2019s really not much of a reflection on the writer, whether they\u2019re good or not. It\u2019s whether they\u2019re a good marriage to the show.\u201d<\/p><\/blockquote>\n Patricia Manney, this episode\u2019s writer, very likely didn\u2019t know the underlying sources involved beyond what was supplied, but I think she was a good fit for this assignment. Her focus as a writer, then and now, are the themes of empathy, healing, and the relation between storytelling and science.<\/p>\n What is this episode about? And does Greek myth play a key role in it<\/span>?<\/b><\/p>\n There are two main themes to Is There a Doctor in the House?<\/span>: freedom and compassion, and they\u2019re dramatized in the role they play in storytelling and medicine in finding a solution to war.<\/p>\n Galen the priest is trapped in ignorance and fear, and his temple to Asclepius is ground zero of the war between the Thessallians and the Mitoans. He can\u2019t yield to rival dogma, for he has no experience to ground any such compromise. Marmax the general, on the other hand, though he fights the religious war and oversaw the atrocities we see, does have a practical understanding of the war he fights: he appreciates the practicalities of war, and respects Xena\u2019s command of the healing room, as a fellow professional. He\u2019s capable of learning from experience, and his humanity shows through as he watches both Xena and Gabrielle getting real results in uncompromising fashion.<\/p>\n He fights against Galen and the Thessalians in the name of freedom, and while he\u2019s their prisoner, he explains that his quest for freedom justifies his atrocities. The equation starts to change for him, however, when Gabrielle tells him a story about freedom: the myth of the hunter Acteon, punished by the goddess Artemis by being turned into a deer and torn apart\u00a0by his own dogs. Except she changes the story: instead of being torn apart, he learns compassion and peace as a deer\u2014in other words, he learns to see the world through the eyes of those he was trying to kill. Marmax smiles indulgently when he hears this version, telling Gabrielle \u201cIt\u2019s a pretty story. Too bad it has nothing to do with real life.\u201d<\/p>\n Marmax actually hears two version of the Acteon myth: the second version is not a pretty story, told by Ephiny as she\u2019s about to give birth to a centaur, but it\u00a0is a\u00a0tragic, all-too-real\u00a0version of the Acteon myth. Her husband, a centaur, is in effect a combination of man and animal, like Acteon became. And like\u00a0Acteon gazing on Artemis, he did what was forbidden to his race: he fell in love with an Amazon. Both he and Ephiny learned the lesson of compassion, but he was to suffer Acteon\u2019s fate anyway: to be torn apart by the dogs of Mitoans, as they laughed. Marmax is stunned, and begins to see himself from his victim\u2019s eyes at last.<\/p>\n Who is LIberius<\/span>?<\/b><\/p>\n There is no Liberius in Greek myth; it\u2019s a Roman name, and the closest Roman god to this name is the God Liber, the Roman Dionysus.<\/p>\n \u00a0<\/span>I had mentioned that one of the themes of this episode was freedom. On Xena Warrior Princess<\/span>, the concept of freedom is usually associated with Dionysus. The god makes a presence here, in the form of Acteon himself! In Gabrielle\u2019s version of the myth, she substitutes the name of Liberius for Acteon.\u00a0 <\/span>Liber is not only the Roman name for Dionysus, it\u2019s the root word for Liberty, and can be found in Ovid, in his telling of the story of the Bacchae. The main character of The Bacchae story (also Euripides\u2019 final play) is The Stranger (in Greek, a female stranger is \u201cxena\u201d\u2014Lucy Lawless has said this was the meaning of her character\u2019s name).<\/p>\n There are numerous instances throughout the series where a character is named or renamed after a word signifying Dionysus. We can see this in Altered States<\/span>: the character of Abraham is renamed Anteus, which, according to Robert Graves (The Greek Myths<\/span>, ch. 85), is the surname of Dionysus in his sacrificial aspect. The myth of Narcissus and his death by dagger, according to Graves, was actually based on a Dionysiac ritual. Since Altared States<\/span> is about sacrifice by dagger, it\u2019s an appropriate name. Another example is Xena\u2019s daughter, Eve. In the original drafts, her character Livia was originally named Lydia. The very first thing we see, in Euripides\u2019 The Bacchae<\/span>, is Dionysus introducing himself to the audience as the Stranger From Lydia. The name Eve very likely comes from the same play, as well as from another big influence from the show, Aristophanes. Dionysus’s\u00a0worshippers in the\u00a0play The Women\u2019s Festival<\/span> sing of \u201cEvius, Evivus, Evoe,\u201d the bacchae’s names\u00a0for Dionysus, and sounding very much like Xena calling her baby \u201cEvie\u201d. Like mother, like daughter, they are both \u201cxena,\u201d the Stranger.<\/p>\n How do Centaurs procreate<\/span>?<\/b><\/p>\n Xena Warrior Business<\/a> wondered about the mechanics of centaur\/human procreation, and whether Ephiny was the first human to give birth to a centaur. The Dan Scrolls<\/span> author Dan Cassino mentioned that even in ancient Greece the idea of a centaur was not taken seriously as a literal idea, given the impracticality of a human-horse hybrid baby being a viable creature, and of course, Xena<\/span>\u00a0goes ahead and embraces the most impossible aspect of this myth! That said, longtime fans will remember Steven Sears\u2019 explanation back in the day for how centaurs procreated on the show: briefly, all centaurs on the show were male because of a dominant gene (I don\u2019t remember all the genetic mechanics he mentioned, but they were quite involved), and because there were no female centaurs, they naturally mated with female humans. However, Ephiny would be the first *Amazon* to give birth to a centaur, given their rivalry as described in Hooves and Harlots<\/span>.\u00a0<\/span><\/p>\n What I find most revealing about Sears\u2019 explanation of centaur procreation, which was his own rationalization, is not its details, but that he gave this explanation during the run of the show, and after he had left it, not having\u00a0watched any episodes made since he left (for all I know, this is still the case). In other words, he was confident that there are indeed no female centaurs, and knew he wouldn\u2019t be contradicted by a show that the fans were watching, but he wasn\u2019t. This tells me that the staff were instructed that male-only centaurs were an established rule. This raises a big question: Why? Wouldn\u2019t it be dramatic enough to have a Centaur-Amazon relationship, even with female centaurs in existence? Wouldn\u2019t it in fact provide even more dramatic tension? Obviously there\u2019s no biological need to come up with such a reason, especially a show that had its own unique take on the myths. But they clearly felt it was important to establish this early on, well before the first season of Xena. So what aesthetic logic is this male-only centaur concept based on? To answer this, we turn to this episode’s chief cinematic inspiration.<\/p>\n Walking and Talking with RedBeard<\/b><\/span><\/p>\n Xena Warrior Podcast <\/a>noted that there were similarities between certain scenes in this episode and The West Wing<\/span>, in which the characters would have a \u201cwalk and talk\u201d (i.e., conversational plot exposition while the characters walk through the scene they’re talking about). They also read off a quote by the episode\u2019s director, T.J. Scott, how he wanted to emulate the realism of the medical drama E.R.<\/span><\/p>\n Now,\u00a0E.R.<\/span> certainly had a lot of \u201cwalk and talks\u201d, but it\u2019s very likely that in this case, Xena<\/span> really did do it first, since it was conceived in 1993, before E.R. aired. What did it do? It drew its inspiration from the same place that Michael Crichton probably did: the Akira Kurosawa film, Redbeard<\/span>.\u00a0<\/span><\/p>\n The majority, if not the entirety, of Xena\u2019s episode have some kind of Greek myth tie-in, but equally, they have some kind of cinematic tie-in as well. It’s already well known that James Cameron’s The Abyss<\/span> influenced Gabrielle’s resuscitation scene. But the film references don’t end there. If I\u2019m certain of anything, it\u2019s that RedBeard<\/span> was a model for Xena Warrior Princess: not just this episode, but the entire series. It\u2019s the one cinematic source that I believe is required viewing for Xena fans. Rob Tapert never mentioned it, as far as I know, and I\u2019d never seen it myself until well\u00a0after I finished watching Xena<\/span>. So how did I deduce this? While watching the series finale, A Friend in Need<\/span>, and listening to its commentary, it was clear there were a number of Asian film influences that Rob Tapert paid homage to in return for the inspiration he drew from them: among others, the Chinese Ghost Story<\/span> trilogy and Snow Falling On Cedars<\/span>, about the Japanese internment during World War II.<\/p>\n I became curious about the character Akemi: was her name\u00a0some kind of homage as well? I searched IMDb for Akemi, and came across Akemi Negishi, who starred in a wide range of Japanese films\u2014one of them, Lady Snowblood<\/span>, seemed very promising: it inspired Quentin Tarantino\u2019s Kill Bill<\/u>. But there wasn’t anything about it\u00a0that really struck me as being uniquely inspiring to Xena<\/span>. However, after reading an article in which Hudson Leick named RedBeard<\/span> as her favorite film, which starred Akemi Negishi (one of Akira Kurosawa\u2019s favorite actresses), I decided to give it a look. I was immediately struck by the obvious influence it had on Xena Warrior Princess<\/span>. For\u00a0a show that wears its film references on its sleeve, it should come as no surprise that there\u2019s a film that inspires the series as a whole.<\/p>\n Akemi Negishi, as Okuni, forced to marry a man who destroyed her family<\/p><\/div>\n The original title of A Friend in Need<\/span> was to be Mentors<\/span>, and its the theme of RedBeard<\/span> as well. The final scene\u00a0of RedBeard<\/span> clearly influenced the final scene\u00a0of Sins of the Past<\/span>, and with the appearance of Akemi in the series finale, this film reference comes full circle. The relationship of the fierce, samurai-like doctor, RedBeard, and his\u00a0intern\u00a0who has big ambitions to become a well-regarded doctor to wealthy patrons, but learns compassion while serving the needs of the city\u2019s poor, mirrors the relationship of Xena and Gabrielle. The intern\u00a0is introduced to life in a clinic when he\u2019s given a \u201cwalk and talk\u201d through its hallways, as it slowly dawns on him the challenge he faces:<\/p>\n The film is a series of stories, much like in a medical drama, about the physical and psychological challenges of their patients. The doctors need to understand both in order to heal them. There\u2019s two such patients who tie the film together: Otoyo, the poor young orphan girl who\u2019s being raised in a brothel, and Chobo, a boy thief that she befriends. Otoyo is difficult to reach at first, given her abandonment to a brothel at a young age. She dares everyone she meets to give up and abandon her, since she believes they will eventually anyway. The young intern indeed wants to give up after Otoyo keeps throwing her bowl of gruel at him, but RedBeard teaches him the secret: patience and unconditional forgiveness, no matter how many times she pushes him away. When Otoyo finally displays her first act of gratitude to the intern, he understands at last, and begs her forgiveness:<\/p>\n Xena Warrior Podcast<\/a> made an excellent point during their coverage of Livia, Xena\u2019s daughter: \u201cForgive me\u201d is the show\u2019s recurring note, and unconditional acceptance and forgiveness, its healing power. We can see many examples of it, in addition to Xena and Gabrielle\u2019s own relationship (their own rift is healed in The Bitter Suite<\/span> to the words \u201cForgive me\u201d).<\/p>\n We see a close parallel to RedBeard<\/span> in Forgiven<\/span>: the young girl, Tara, wanting to become Xena’s “intern,” seeks acceptance, but can\u2019t help provoking Gabrielle. She seems impossible to forgive, and Gabrielle, like Redbeard\u2019s intern, sees no point in doing so, but Xena knows better: she was once that incorrigible, and knows how valuable genuine acceptance is. Like Redbeard, she shows patience and confidence in Tara, until it overcomes Tara\u2019s lifetime of rejection and abandonment.<\/p>\n We\u2019ll see a similar story of forgiveness, told in a very different way, in season five\u2019s Little Problems<\/span>, The Acteon myth is also present here, in a sense. The idea of learning compassion by becoming something else is seen when Xena, about to become a mother for the first time since Solon, whom she never raised, finds herself in the form of a little girl, Daphne. Daphne blames herself for her mother\u2019s death, and assumes her father does too. Xena grew up in similar circumstances: she\u2019s able to help Daphne forgive herself, and in turn, accept the difficult emotions of her own growing up.<\/p>\n Chobo the boy thief is also difficult to reach, at first: when he meets Otoyo, he declares he wants to be a horse. Here we have the secret cinematic origin of the centaurs and the amazons, in the form of a boy horse and a girl \u201charlot”:\u00a0<\/span><\/p>\n We can see how this would influence\u00a0Hooves and Harlots<\/span>: the Amazons, called “harlots”, are represented here by Otoyo, the girl from the brothel, and the Hooves are represented here by Chobo, the boy who wishes he was a horse. \u00a0Queen Melosa complains the centaurs want the Amazons hunting grounds; like Chobo, who steals food from the clinic, they are merely thieves in their eyes.<\/p>\n Otoyo takes pity on him, having learned compassion from RedBeard and the intern, and when Chobo gets sick, and shames his family, Otoyo shouts\u00a0his name into a well, to call his soul back to life. She and the kitchen cooks scream \u201cChobo! Chobo!\u201d until it seems to work, as Chobo recovers. Here, then, is the connection between Hooves and Harlots<\/span> and Is There a Doctor in the House.<\/span> We can see clues in this episode: Gabrielle is injured while looking for a little boy, Piraeus, and Xena must find a way to call her soul back to her body. It makes aesthetic sense, then to have Ephiny return to this episode in need of medical help, pregnant with a centaur. And Xena is also a fellow \u201cHarlot\u201d, having been called that name by Galen.<\/p>\n This RedBeard<\/span> influence doesn\u2019t begin with these episodes, or Sins of the Past<\/span>. The first clear reference to it is nearly a year earlier, on the third episode of Hercules<\/span>, The Road to Calydon<\/span>. In that episode, we meet two orphans: Jana, a girl raised in a brothel (!) and Ixion, a boy named after a centaur (!). A clearer parallel to RedBeard<\/span> couldn\u2019t be found! Their story involves a healing that\u2019s very similar to Otoyo\u2019s in RedBeard<\/span>, and has Jana calling his name like Otoyo calls Chobo\u2019s into the well.<\/p>\n By the way, does the name \u201cChobo\u201d ring a bell? In Hooves and Harlots<\/span>, Xena chooses \u201cChobo sticks\u201d to fight the Amazon queen. Now, I\u2019m well aware of the story behind how these were named: Steve Sears says he was writing that scene when, stumped for a weapon name, looked out a window and saw someone with a churro stick, and somehow \u201cchobo\u201d popped into his head\u00a0as a good placeholder name, until something better could be thought of. I\u2019ve no doubt that story is true, but I\u2019m fairly certain that RedBeard<\/span> was recommended viewing by Rob for the staff, and my belief is that Steve watched it (along with tons of other reference material), forgot the name, then channelled it again when he saw the churro. It felt right to him, and to everyone else who watched the film, naturally, so it stayed in.<\/p>\n Once Upon a Time in China<\/span><\/strong><\/p>\n I mentioned at the beginning of this post that this episode is about a religious war, but that we only see one side of it: the worship of Ascleplius. We do get a glimpse of what this war could be about, though, when we see the conflict between Galen,the priest of Asclepius, and Xena, about proper healing methods. Galen believes healing is the result of his intercession with Ascleplius, while Xena relies on her actual experience healing injuries on the battlefield. Galen isn’t entirely deluded about the limitations of her methods\u00a0, by the way. At one point, Xena loses a patient; and Galen points out her medical skills alone can’t solve everything, something that weighs heavily on Xena’s mind, and will need to confront in the final scenes of this episode.<\/p>\n Both podcasts list the\u00a0healing techniques she employs\u00a0as examples of her inventing new medical techniques, but I\u2019m not so sure. Remember, we\u2019re in a temple that forbids this kind of healing, so it\u2019s all new to them, but probably not to anyone else (though obviously Xena is more proficient at it than anyone else). Galen describes her methods as \u201cantiquated\u201d and \u201cimpure\u201d. “Impure” we can understand, if he believes that only prayer is effective, but \u201cantiquated\u201d? In other words, he seems to be aware of her approach, but considers it inferior. Does the word \u201cantiquated\u201d strike anyone as an odd choice, though? An odd turn of phrase like that makes me curious why they thought of it, and I believe this is another film reference, to the Once Upon a Time in China<\/span>\u00a0series in the 90s, starring Jet Li. The films explores 19th century China after opening up to the west, and the cultural clashes between Chinese traditions and western technology. The second film deals with western medicine and Chinese acupuncture. There\u2019s a great deal of competition between the two, which is put aside during a battle, when a western-trained doctor runs out of anesthesia and calls in the acupuncturist who\u2019s been banned by the hospital for his antiquated ways, in order to help remove the patients\u2019 pain using his needles. The two doctors work side by side quite effectively, augmenting each others\u2019 skills:<\/p>\n\n
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