On Irina Derevko
(Note: Spoilers for Metal Gear Solid 3: Snake Eater and The Americans ahead. And for Alias, obviously.)
I’ve never understood why Irina Derevko is so beloved.
No, scratch that. I do understand why she’s beloved. What I don’t understand is the belief that the character on-screen actually had anything but the most superficial likeness to the character than exists in the better-than-the-actual-show fandom headcanons. Like, season 2 is overwhelmingly considered the best season of the series, and Irina is often credited as one of the main reasons, and…I can’t see it? [*1]
Similarly, I don’t understand the hate for Irina’s final story. Yes, the missiles and mass murder specifically were stupid, and the final fight with Sydney is seriously lacking in “oomph”, but these are execution problems, and most of the complaints appear to be about the concept—as in, fans believe Irina wouldn’t put her ambitions above Sydney, especially after season 4. To which I say…really?
Sure, I can buy that Irina loves Sydney, and Jack, and Nadia, in her own, destructive way; what I can’t believe is she cares for them more than she does her agenda, whatever that is at any given moment . Like, I don’t believe anything she does in season 2 actually works, if the idea is that she’s somehow doing it for a greater good. Maybe if she were operating from a position of weakness, but that’s not the case—she remains the strongest piece in the game throughout the season. [*2] Why, exactly, is all this convolution and emotional manipulation of the people she allegedly loves needed, if her goal is a sympathetic one? Furthermore, the series glosses over, if not outright ignores, the various details which indicate that Irina was not on the level—first and foremost: why go to the C.I.A., i.e. the United States, in the first place, unless she wants something only they can provide? She’s not American! Her work as the Man was global!
(Speaking of agendas, I know that it’s taken as gospel by at least part of the fandom that everything Irina did in season two was in order to be able to find Nadia again. Fair enough: even if it’s not quite canon—I don’t think they ever explicitly say this was actually the case—there’s enough actual in-show evidence (a rare thing, in some respects) to make it plausible [*3]. That, said, I’m not sure “trying to find my daughter” justifies much of anything she does—not enough to make her more sympathetic than, say, Sloane.)
I also don’t think Irina’s presence does a whole lot for the series’ larger narrative, as evidenced by the fact that, for all her importance, she doesn’t actually change a whole lot. It feels like she should, but between the SD-6 take-down being way emptier than it should have been, and the fact that neither Sydney nor Jack end the season any different than they started it, she ends up feeling largely inconsequential. [*4] It is also equally hard, if not impossible, to say how the events of the season have changed Irina, given how opaque everything about her is designed to be. Later, Irina ends up being largely incidental to Nadia’s discovery, and Nadia’s story is arguably better with Irina as the unsolvable dead mystery, in part because it helps differentiate her from the possibly evil possibly repentant figure that already exists in SpySkipper’s life.
And that’s one of my other issues with Irina as a character: while there is in theory a lot to distinguish her from the rest of the cast—her upbringing alone!—the way the show uses her de-emphasizes those differences and emphasizes the similarities to such a degree that she often ends up feeling redundant. The “whose side is she on” beat, in particular, had arguably already become overused when it came time to use it play it to her, and by the time SD-6 was done and she explicitly joined Sloane, there were too many similarities between the two to make the dynamic between them compelling, particularly since the show made it verboten for either of them to speak about their motivations. Furthermore, if one believes that Irina did it all for her family, then what is there to distinguish her from Jack, who’s already ready to torture as many people as necessary for that very thing?
To be clear, there were ways Irina could have realized her potential to be Alias’ version of Metal Gear Solid’s the Man The Boss or The Americans’ Elizabeth Jennings—or rather, a version of those characters that actually works as well as they do. That’s certainly what her fans seem to want. Unfortunately, those ways rely on Alias being…not like itself.
I am not the first person to note the similarities between Irina (a.k.a. Laura Bristow) and Elizabeth Jennings (a.k.a. Nadezhda): they’re hard not to notice, given that they’re both KGB spies and assassins embedded in the United States and operating under cover during the Cold War, and forced to select between loyalty to their country and the family they’d made (although it’s worth noting that Elizabeth’s husband, unlike Jack, is in on the scheme and also a KGB spy/assassin) [*5]. The Boss, meanwhile, parallels season 2 Irina: at the beginning of Snake Eater, where she appears, she betrays the C.I.A. without explanation and defects to Russia, and she spends most of the story running rings around everyone, including her protégé Snake (the game’s protagonist, who’s been assigned to kill her and stop her sponsor, a Russian colonel named Volgin) until her actual motives are revealed. She also exists in a universe which combines semi-realistic espionage with frequent batshittery, including psychics, hornets as a weapon of choice, impossibly old snipers with the power of photosynthesis, and a ridiculous amount of reversals and double-crosses.
MSG 3 images obtained from Metal Gear Solid 3: The Movie, a re-edit of the game’s cutscenes by KefkaProduction. It can be seen here.
That said, despite the similarities, there is one chief difference between either work and Alias, which is crucial to making their stories work: neither is naive about the world they’re presenting, both understand, in a way Alias does, that one can’t be a spy and keep one’s hands clean. Being a spy, for the Boss, meant betraying her old friends and everyone she ever loved, allowing herself to become an international pariah, and ultimately dying, because that’s what the mission required. Elizabeth Jennings killed innocent people, ruined friends’ lives, blackmailed countless people, manipulated her daughter into following her footsteps, and ran herself ragged for years, all because she believed in the cause. It’s not a great life, being a spy.
(Sydney, meanwhile, often just has to lie a lot.)
The thing about this sort of work is that it breaks down one’s ability to claim the moral high ground. Once you’re doing terrible things on the regular, it’s easy to see enemy spies are just other people who are also doing terrible things for their mission—potential comrades who just happen to be on the other side. Snake, The Boss’ protégé in Snake Eater, develops a relationship with Ocelot, a Sark-like soldier working for the Russians. Elizabeth and Philip Jennings develop a friendship with Stan Beeman, an F.B.I. counter-intelligence agent living right next door, which turns out to be every bit as genuine as it is an effort to cultivate a source.
Alias, however, spends much of the series unable and unwilling to strip Sydney of her moral high ground, once she obtains it by working for the C.I.A. What should have been the beginning of her moral journey—after all, how different is SD-6 from the C.I.A., if the people working for the former can’t tell they aren’t working for the latter, and their missions largely work out the same way?—is instead treated as the end. As terrible as U.S. intelligence proves to be, it never actually makes Sydney question her loyalties, or even her feelings about it all. This, in turn, utterly undermines Irina’s potential as a storytelling element. What good is a temptress if there’s no potential for the person being tempted to change?
(Similarly, if we’re not allowed to know what Irina Derevko wants—a key element of character-building, as many people will tell you—how are we meant to know how she herself is being changed?)
Given what we got, it’s no surprise that Irina’s season 4 return is so uninspired, consisting largely of fan service moments, and very little in terms of character progression, or sense that the Sydney’s relationship has moved forward in any way that feels natural—what else was there to do? [*6] It’s inoffensive to the point of being really annoying.
While Irina’s season 5 appearances are in a way a step backwards, Irina was always more interesting the closer she got to villainy. Her appearance in “Maternal Instinct” is a hoot, and allows her and Sydney to play roles only they could play. Their final battle, while not really satisfying—in part because it’s the fourth ladyfight in as many finales, and none had come even close to matching the original—feels necessary for Sydney’s story, which had finally begun progressing again after seasons of stalling: there is catharsis to “I am through being disappointed in you” that feels utterly necessary. Could it have been better? Sure, but then, so could 80% of everything having to do with Irina.
Footnote footnote revolution!
[*1] I remain convinced that season 2 is actually the worst season, is the one that irrevocably ruined Alias, and that Irina actually had a fair amount to do with that.
[*2] Well, it depends: the status of Irina’s organization following her “defection” is…unclear. If we accept the idea that the organization is in shambles, as the season suggests, then there’s really no reason why, exactly, the C.I.A. actually needs her cooperation, given that they…uh… didn’t need it in order to actually grievously ruin it in the first place. And yet, here we are.
[*3] To a degree, anyway. The Nadia story gets us as far as explaining why Irina would need The Telling, but doesn’t tell us why she’d need The Circumference, even if we ignore its eventual canon purpose.
[*4] No, their season 3 belief that Irina can be worked with doesn’t count, as it is spun out of whole cloth, and can’t be directly tied into anything that occurred the previous season.
[*5] The Americans also features an enviable wig game, which should feel very comforting to Alias fans.
[*6] Although to be fair, that’s partly because, again, the series isn’t really concern with having Sydney evolve as a person since season 1.
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