Sam Lewis
Netflix’s originals always seem to have its audience hooked, due to the undeniable realism that turns what should be entertainment, into a series of questions we ask ourselves of our current situations. By tugging at heartstrings and depicting circumstances we, as a society tend to shy away from, is what Netflix is great at showcasing – It sure did with its latest, Maid.
The 10 part drama, heavily inspired by Stephanie Land’s best-selling memoir, Maid: Hard Work, Low Pay and a Mother’s Will to Survive, follows the story of 23-year-old Alex (Margaret Qualley) who, with her two-year-old daughter Maddy, flees an emotionally abusive relationship with Maddy’s father, Sean (Nick Robinson).
Maid’s tender storytelling has viewers deeply invested. Alex’s sense of isolation alongside the evident absence of helping hands, hits hard in an era of loneliness offset by the pandemic. Each person around her has their individual problems – from Sean and her father’s alcoholism and violent tendencies, to her mother’s lack of stability – which resulted in a weak support network (or lack thereof).
By the end of the very first episode, we see Alex and Maddy asleep on the floor of a ferry station; In another episode, she literally slips out of sight, between the cushions of a sofa, finding herself at the bottom of a dark well. We also often see the running total of Alex’s finances reach zero, as she buys food for herself and Maddy, petrol for the car she’s reliant on to work and cleaning supplies.
“there are also moments of humour, surrealism and hope that infuses some sort of levity to an otherwise harrowing tale”
Alex claws her way through a devastating Catch-22 situation; every time she persists and progresses, it’s a case of two steps forward, one step back. We see her claw her way through a demoralising morass of forms and intrusive questions, however, there are also moments of humour, surrealism and hope that infuses some sort of levity to an otherwise harrowing tale.
She also has to confront the court unexpectedly, after Sean filed a petition for him to have full custody of their daughter, when she took off in the middle of the night with no plans in place – to protect Maddy from getting hurt. She loses, the parents eventually work out what’s best for the child – yet it’s still daunting to watch how quickly things unravel when someone hasn’t got anybody to turn to.
Another face on the scene is Nate, whom seems like a genuinely nice guy by offering a helping hand in any way he can; there were clearly strings attached which became evident when he said Alex could no longer stay with him, when she has sex with Sean.
“as in real life, everyone in Maid muddles on”
While it can be difficult to be a witness to interminable obstacles faced by a young mother battling a system rigged against her, poverty and generational trauma – as in real life, everyone in Maid muddles on.
Maid displayed many elements which dramas fail to, here are some subtle (and not very much so) components which set it on track to beat The Queen’s Gambit as Netflix’s most-watched mini series.
Support Networks
Quite often we’re sold this idea that everyone has a support network – someone to turn to when things are tough – but this was not the case for Alex.
For starters, her first point of call was understandably her mother – Paula. However, the free spirited artist, described as having undiagnosed bipolar adds to Alex’s misery – as is everyone else around her. Whilst struggling with issues of their own too.
Paula wasn’t always the shoulder to cry on, the one to provide a roof and food for prolonged periods of time when in need, be a responsible grandmother or face the court when Alex was on the brink of losing full custody of Maddy.
“Like mother, like daughter.”
She was with several men, found herself in a psychiatric hospital after putting her hand through the window of her house that her husband – who she got married in secret to – lost due to gambling issues. She encouraged Alex to get back with Sean, despite him continuing the crushing cycle of domestic abuse and even found herself homeless, sleeping in her car. Like mother, like daughter.
Nature vs nurture – Alex didn’t always make the best decisions, which are apparent to us as viewers; it was down to her pride – every individual handles situations in a different manner.
The authenticity, detail and brilliant performance from Margaret (Alex) and her mother Andie Macdowell (real-life mother), makes the entire series both a compelling drama and a testimony to the suffering of many.
Flawed System
I’m pleased that the series portrayed such an important topic; it didn’t shy away from how corrupt the system in the United States can be – with many places not actually much better off.
Alex (who didn’t have much to her name in the sense of money and personal belongings), couldn’t access subsidised childcare if she didn’t have a job, but she couldn’t get a job without childcare. Alex didn’t believe she belonged at a shelter because the abuse wasn’t physical. The only available vacancy was a low income ‘Maid’ role, which had capped hours to qualify for government assistance. Impenetrable bureaucracy.
On top of this, Alex ends up receiving subsidised housing – a halfway house – which was infested with mould that was not only previously painted over, but was making Maddy ill. Problems we hear about all too often, were finally portrayed on our beloved streaming service.
Emotional Abuse
The series depicts the devastating truth, that while physical abuse can be documented, the scars from emotional abuse are more difficult to be understood and proven – it also emphasised how difficult it is to prove that it has taken place. Sean’s control over Alex’s car, phone, finances and access to Maddy are clear signs of abuse. The type rarely displayed on screen.
The beautifully rendered yet gut wrenching series shows the harsh reality of being trapped in unfortunate predicaments, and is set to be the most watched Netflix mini series – we viewers can understand why.
Featured image courtesy of Oliver Hale on Unsplash. No changes or alterations were made to this image. Image license found here.
Sam Lewis
Samantha Lewis is a journalism graduate with a first class honours. She is currently a freelance journalist based in Leeds