In Episode 2 of HBO’s Divorce, Thomas Haden Church’s Robert visits his friend Nick in hospital. Nick has had a heart attack following a violent row with his wife Diane.
“Seems like it’s open season on men around here,” notes Robert, before adding that it must be “hell” for Nick to be lying there, “can’t speak, clucking hens all around you.” In case Robert’s anger at womankind has not yet been made clear enough, he then tells his wife Frances’ friend to “get the fuck away from me you old harpy.” As far as Robert is concerned, women are the enemy.
One could say he has good reason to be mistrustful. Not only was he almost shot by Diane, he recently found out Frances has been having an affair with a granola-making academic. Having changed the locks on their home, he asks Frances whether she ever slept with both her lover and him on the same day: “Because officially that would mean you were gang banged.” He tells Frances that he is going to make her miserable: “And more to the point I’m going to make our children hate you.”
Divorce is written by Sharon Horgan and executive produced by Sarah Jessica Parker, who also plays Frances. It would be difficult – and unfair – to argue that this is a dramedy in which female perspectives on relationships have been sidelined. Even so there’s something about Robert’s embrace of misogyny, almost as a form of liberation following years of repression, that I find deeply discomforting. It’s not unfamiliar territory in TV shows or films relating to the topic of separation, but still it leaves me, as a viewer, on edge.