January 2024

By Sara Easterly

As an adoptee-author whose work involves explaining behaviors to people who often misunderstand us, I love a good backstory. Gregory Maguire’s Wicked enchanted me, and an interest in understanding the developmental journeys for Darth Vader, Voldemort, and The Grinch led me to watching, with great anticipation, their longer character arcs unfold in various Hollywood adaptations. Even in fantasy literature and films, it’s engaging to ask questions like those asked by Oprah Winfrey and Bruce D. Perry in their bestselling book on trauma, What Happened to You?, to empathize with iconic characters’ early-in-life wounding and see them as well-rounded, hurting humans on a hero’s journey rather than one-dimensional figures used to propel the plot forward.

For these reasons, I was particularly excited to catch Warner Bros. Pictures’ Wonka and consider the mysterious chocolatier and his inner circle in new ways. Even though I enjoyed the film, I left the theater with more questions than answers and more frustration than sentimentality. That’s because, as is common in holiday stories ranging from Dickens to Hallmark creations, Wonka employed the orphan trope, along with a stereotypical happy ending with a mother-and-long-lost-child reunion—both of which lacked substance and depth.

In the movie, “Noodle” (played by Calah Lane) is a young orphan who befriends Willy Wonka while they’re held captive by Mrs. Scrubitt in a launderette. Within minutes of Noodle’s on-screen appearance, she’s labeled as suffering from “orphan syndrome.” Having just released Adoption Unfiltered, a book I co-authored in which I write extensively about the lifelong effects of separation trauma, I was interested in whether the movie might explore this further, beyond the insinuation that anyone separated from their parents is broken. I felt a momentary glimmer of hope when Wonka tells Noodle it’s her “orphan syndrome” making her mistrust others. But the opportunity to delve deeper into what might be going on for Noodle never came. Somehow, despite losing her parents as an infant, Noodle presents as perfectly adapted, the only emotional residue of orphanhood: yearning for her parents. But where was her anxiety? Her alarm? Her frustration? How could she so readily give her heart to Wonka—and others, without crippling fear that she might lose those she dared to love, as were her formative experiences as an infant?

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In 1912, German meteorologist Alfred Wegener published The Origin of Continents and Oceans, in which he proposed the world’s continents had once been joined in a single landmass that he named Pangaea. Wegener grounded his argument in the agreeable shape of continental coastlines, which look like puzzle pieces asking to be fit back together, and unlikely deposits in the fossil record of similar plants and animals separated by oceans too vast to swim.

Wegener’s proposal was visually intuitive and supported by a body of physical evidence, and it should have found a home among professional geologists at the time, but they rejected the idea and abandoned it for five decades. Wegener was a meteorologist, after all. Geologists didn’t consider him part of their family.

Wegener raised the single continent theory in the public mind and named it, but the idea was not his. It was the brainchild of Frank Taylor, an amateur geologist in the United States. Continental geologists might have considered Taylor a distant cousin at the time.

Neither Wegener nor Taylor could say what caused the single landmass to break apart and send the continents traveling in opposite directions. That task fell to British geologist, Arthur Holmes, who in 1944 was wise to the currents of heat and rock being exchanged underground and imaginative enough to speculate that continents move about because heated plates of rock are pushing and shoving against each other below the surface.  

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