And Then There Were None. Masterfully retold by the BBC, this mini series sports a seriously killer cast, with Aiden Turner (Poldark), Miranda Richardson (Churchill, Harry Potter), Charles Dance (Gosford Park, Game of Thrones), Sam Neill (Jurassic Park, The Piano) and other very familiar and compellingly new faces.
Murder. Intrigue. Mysterious assignations and clandestine words spoken in the moonlight. Tried and true themes of mystery to be sure, and best wielded by a delicate hand. But as overwrought as these tropes can be, they were all used to best effect by one fascinating if controversial woman: Agatha Christie. While we at WGBH have oft delved into her tales with Miss Marple and Hercule Poirot, we are seriously excited to be broadcasting the most recent version of her most popular novel.
First known under a series of rather ugly names, the tale that has come to be known as And Then There Were None is a classic story of human darkness and depravity. Framed in its whodunit trope, the plot forces us to question not only our own morality, but the place of guilt in society. What’s more, the tale also makes one consider the usefulness of governmental judicial systems with their limited means and oft corrupt executors. It is these themes that create such a timeless story that has been told again and again through film and television.
And while And Then There Were None has had countless adaptations, BBC’s 2015 mini-series stands amongst the most unforgettable. It’s incredibly visually appealing, with lush, moody cinematography and careful lighting from John Pardue (Luther). The costumes of the films are immaculately selected by Lindsay Pugh (Quantum of Solace, Sense8). Through her styling, Pugh creates a fascinating practice of revealing state of mind through state of dress, and slowly reveals story hints through subtle changes in fashion. But all of this would be for naught without solid performances.
Thankfully, the cast is a who’s who of solid character actors and feature players on the BritDram scene. Each performer brings a solid sense of their character to the role, taking them through full mental and emotional evolutions in the short course of the storyline. And while it’s always a pleasure to watch old(er) favorites like Sam Neill and Miranda Richardson take on the MacArthur and Brent, we’re not going to object to the smolder that new favorites Aiden Turner and Maeve Dermody deliver to Lombard and Claythorne.
You can catch all the magic of And Then There Were None on WGBX 44 at 9pm on March 29, April 5 and April 12. And in the meantime, check out our dissection of the costuming for the first episode of And Then There Were None.
The Costumes of 'And Then There Were None'
Episode One: Innocence & Experience
When a film is done properly, you shouldn’t notice the individual aspects of the whole. Music and camera work brush past your senses as you focus on the plot; location and props serve as an elegant frame for the performances. Often times, each of these individual arts is telling a story that we aren’t even aware of. When I first entered the world of And Then There Were None, I fell in love with the charmingly vintage wardrobe, as designed by Lindsay Pugh. But it wasn’t until I called up my good buddy (and, conveniently, professional costume designer) Natalia de la Torre, that I learned just how well executed the sartorial decisions were.
But First, A Little History
“So, the late 30s is difficult to pinpoint, costume-wise,” de la Torre begins as we settle down to our discussion. “After already a decade of dealing with the severe economic issues of the Great Depression, World War II kind of stops everything in Europe – from the materials you can use to the skilled labor you have to make your clothing… essentially all forward fashion comes to a halt.”
And Then There Were None takes place in 1939, the year that saw the invasion of Poland by Nazi Gemany and the Soviet Union. As most of us remember from high school history, this results in Britain and France declaring war on Germany and effectively kicking off the war.
“As the war progresses, depending on where you are in the world, fashion and art either stops entirely or is slowed down or affected in some way,” de la Torre says. “But art is extremely adaptable and designers found ways to work within the rules. As a result clothing became more practical, longer lasting, and more utilitarian. ”
That all makes sense in terms of how the styles are used within the film – but I can’t help but wonder aloud: how do they choose who wears what?
“Costume is very important in this sort of story as it tells immediately the background, status and character of each individual, almost in an archetypal fashion,” she explains to me. “Each outfit is a uniform, just like the livery of the servants of the household.”
And this is where the fun begins.
So, How Did They Do?
As we review the wardrobe the cast wears in the first episode, de la Torre points out the consistencies – and liberties – of the costumers: “Mens’ silhouette, color, and fashion details didn’t change as quickly, and when they did change tended to be small details. Women’s silhouette is usually the best indicator of time period. So far all the women’s silhouettes seem to be right on the nose and correct… [Also] there’s a color scheme I like to use for realistic 30s productions, and this show fits squarely into it. Blues and browns, hints of pinks and maroons. It’s a somber, but nostalgic palette.”
So, we’re doing well with the silhouette’s and a 30’s appropriate color palette. And de la Torre’s comments on the mood of the color scheme – somber, but nostalgic – fits the storyline as well as the time period. As the show progresses, the mood grows increasingly somber, and it becomes more apparent that each of these people carries with them a nostalgia for days gone by: days before the war, days before they were murderers, days before they came to this treacherous island.
But that’s not the only thought de la Torre has on the use of color in the piece - unsurprisingly, the color red is pulling double duty within the film.
Let’s Get Specific [Mild Spoilers]
Within the ‘present’ of the film, the color red highlights details everywhere: “The lobster, Miranda Richardson’s blouse, Dr. Armstrong’s bathrobe and car, the Irish scoundrel’s pants and tie, the detective’s tie, red wheels on the playboys white car, the curtains on the train,” de la Torre ticks off. “They all have blood on their hands and the red [here] is a symbol of that.”
But it’s in secretary Vera Claythorne’s story where the color makes what we find to be a more interesting play, with the color serving so firmly in the wardrobe of her past. “[Red is a symbol] of happiness, excitement, good health and spirit. In the 1930s exercise and sports were really popular, serving as examples of youth and vigor. This reinforces... the strength of the woman she was before,” de la Torre ponders. “Juxtapose that with the drawn blue and gray she wears in the office, and especially the flat, flat hair. She looks sick, depressed and worn.”
Another favorite juxtaposition and transition is that of Mrs. Rogers’. When we first see the housekeeper, she’s empty and obviously agitated - no state to be in for one who would typically serve as the head of the female servants in a manor home. But it’s when we begin to witness her history, that the oddity of her behavior and appearance begins to make sense.
“I especially like being able to see the before and after of [her] uniform. How prim she was in the lace cap as her husband killed the lady of the house, and how her look deteriorates over time, becoming sloppy and bare,” de la Torre muses. “Even beginning to wear her sunglasses indoors. [They] can be seen as a symbol of how she was witness to the lady’s death, and her desire to shield herself from further acts. It’s a nice arc for her.”
From the overall color schemes to specific costuming arcs, Lindsay Pugh and team did a superb job of creating a mood and furthering the storyline for this first episode of And Then There Were None. But if there was one thing that de la Torre could change from this episode?
“If they wanted us to believe that Davis was a businessman and not a detective, they should’ve given him a better disguise,” she laughs. “That mustache came in my detective starter kit.”
You can’t win ‘em all.
The Costumes of 'And Then There Were None'
Episode Two: The Hollow (wo)Men
Color schemes, silhouettes and character development were all on the table last week when professional costume designer Natalia de la Torre reviewed the wardrobe from the first episode of And Then There Were None. As we worked our way through the first episode’s set-up of the storyline, de la Torre translated the work of costumer Lindsay Pugh, providing me (and hopefully you) with the a better understanding of the reasoning behind key decisions – from Vera’s red bathing suit to Mrs. Rogers’ minimalist wardrobe.
This week we continue in that vein, digging deep into the key character moment, seeking out hints of each potential murderer’s path, as well as the ultimate mystery – will anyone get off the island alive?
The Brent Flashback
As the episode gets down to business, we start with a flashback from Emily Brent (Miranda Richardson). As her memory unfolds, we find Brent sitting with a young woman, her ward, in an environment that is almost fantastical – a large oak tree in the middle of a rolling, golden wheat field. After a moment of peaceful needlepoint, the girl pricks her finger - and Brent licks the blood away with a sensual, predatory manner.
“The colors here don’t tell the story so much as silhouette. The girl is only ever shown in the pinafore apron of a ward, very young, very practical, with a simple hair style, and no jewelry or makeup.” de la Torre postulates. “She’s maybe 15. We see Brent in two different outfits, complete with separate hair styles, jewelry – you can tell she has money... She takes in this dispossessed girl and preys on her in a Suddenly Last Summer sort of way because she has all the power... It’s all in that moment when she sucks the blood off the girl’s finger... It’s a power play. ”
But as we see from her actions on Soldier’s Island, Brent see’s nothing strange about her treatment of the girl – neither in her dominance in their relationship, or in her ultimate condemnation of her.
“She totally thinks she’s innocent, blameless, a passive victim... This is especially shown in [Brent’s] colors,” de la Torre says. “She’s in blue... Light blue can signify innocence, but usually in the case of age – which is why we put ingenues in the color, like Cinderella’s blue dress. [Brent is] in light blue for every other part of this flashback – except for when she throws the girl out in the rain when she is in a more somber navy.”
Which makes sense when you take into account Brent’s mood – youthful and light as she pursues a much younger woman, and somber and more powerful as she casts her out, betrayed.
A Hierarchy of Dressing Gowns [Spoilers]
The third day on Soldier’s island dawns with a (literal) bang, as Dr. Armstrong finds Mr. Rogers’ corpse in the kitchen. As he sounds a gong at the foot of the stairs, the five remaining house guests come running – sporting a pretty sweet collection of dressing gowns.
“Sweet dressing gowns is right,” de la Torre agrees. “From [this] you’d think everyone had sweet patterned dressing gowns. And part of that is right. Bathrobes were far more useful and necessary back then – England is cold, coal is expensive, and they’re in a war.”
But there’s a big difference between the tatty terry cloth mess that hangs from a hook on my bathroom door and these elegant robes – which I mention to de la Torre.
“[This style was] ubiquitous enough that you could get nice looking ones that were still inexpensive because the were made from rayon,” she explains. “[But] I’d look at the patterns to learn about the characters, not the materials. They all feel right on.”
So a dull teal for Brent, and a muted plaid for Blore – quiet by the rules characters – whereas reputation-preoccupied Armstrong is in a red, gold and black creation. “No nonsense characters in stripes, dots and plaid. Fancier characters in patterns,” she nods. “With Judge Wargrave in the fanciest fabric and pattern of all. Silk was difficult to come by and expensive (the best was made in china and japan which were axis). If Wargrave had the money for [silk], it truly shows his status, power and wealth.”
Manifesting Guilt [includes a guess at the finale]
As the guests move into their second day on Soldier’s Island, we begin to see the hints of them fraying at the seams (pun fully intended). Vera is first – “The wispy hairs on the sides of her face are a very modern look,” de la Torre starts. “But while it’s popular now to have bits of hair framing the face, and that wasn’t really done back then – she looks unkempt [for the period].”
As the day progresses de la Torre is quick to point out this theme continuing. “It looks like some of the characters are losing their grips,” she tells me. “Everyone at the top of the show is all fancy, hats and suits, traveling clothes... Now, two of the actors are just in shirts. Wargrave is still in a suit, but he’s always going to wear a suit. He’s a judge. He sleeps in suits. Vera has let her hair down [fully].”
De la Torre thinks on this a moment, before adding: “The killer is either [Wargrave or Vera], or one of them dies next. Seeing as the story is told from her point of view, I say he’s the killer, she’s the last one standing…” She grins. “Do I win anything?”
I don’t tell her. And I won’t tell you. You’ll just have to tune in.
The Costumes of 'And Then There Were None'
Episode Three: Dead Man's Party
The cards are on the table at Soldier’s Island. Death is coming, and barely-restrained hysteria is the predominant emotion for the estate’s inhabitants. As the murder count grows, it appears as if the costuming has gone ignored, with characters running the halls in the same wardrobes day to day, their hair oily, and styling sloppy, unkempt. But that impression couldn’t be further from the truth, Natalia de la Torre, our costume design consultant assures me. From the desperate, slovenly clothing, to the death dress of the characters, to the small details in the flashbacks – this story all unfolds through its wardrobe.
Dead Man’s Party (spoilers)
Early on in this episode the Soldier’s Island denizens lose the judge to the spectre of death that dogs them. The most respected member of their group, and the core symbol of authority, the judge is the final breaking point – the remaining four fall into depravity, breaking out alcohol and drugs with abandon. Once inebriated, they start spinning records and raiding closets, their party growing more wild and desperate as the night goes on.
“You can definitely see here how – similar to the maid in the first episode – these people have lost all the polite social rules of clothing around strangers,” de la Torre tells me. “At the beginning of the weekend... hair was styled very cleanly and they maintained decorum. Now these last few living people don’t bother anymore - the secretary’s hair has been down since she walked into the ocean, and all the men are in shirt sleeves and wearing funny hats.”
The hats themselves are an interesting point. Homophobic Blore wears what appears to be a straw sun-hat that once belonged to Brent. He giggles at the affectation as he dances with Armstrong, only to reject it with disgust upon sobering. And reputation-obsessed Armstrong dons a fedora, a hat that was known for its use by the lower class to affect a level of esteem they did not necessarily have.
But what about their clothing? All of the men have rolled their sleeves up, collars are unbuttoned low, ties loose and askew. “Colors here don’t matter so much as how they are wearing the clothes,” de la Torre acknowledges. “These people don’t have many concerns left.”
Judge Dread (spoilers)
But back before Wargrave’s death, and the manic romp of the remaining murderers, we get the first glimpse into the judge’s memories – and find the reason that he belongs on the island just as much as his fellow guests.
Sitting at the head of the dining room table he begins his tale, oddly calm as everyone else smokes and clutches their coffee cups close. “When everyone else is falling apart [he has] just a slightly askew tie, that’s it. Otherwise [he’s] completely pulled together. Nice touch.” Not only does this look make sense to his position as the stern father figure of Soldier’s Island, but it also relates nicely to his ultimate role on the island.
Wargrave’s flashback only furthers both of these storylines. As we ease into his past, we find him sitting on the judge’s bench wearing the red robe of a high judge. He slowly places a black cloth upon his head – the so called “black cap” that judges were required to wear when sentencing someone to the death penalty. But even as this costuming is historically accurate, de la Torre says that it’s still a decision in terms of the coloring: “[This is] a stylized choice following the red symbolic themes. Black is dignified and austere, [but] the red is passionate and attention–seeking.”
A wardrobe choice is repeated in his death scene – which catches the attention of our costume designer: “The dead judge is in a red robe he didn’t have before!” de la Torre exclaims. “What kind of a man packs more than one robe? Whose red robe [is it]? How did it get there? No one has worn a solid red robe like that. Someone would have to find that in the house or bring it with them.”
And this is the final clue to Wargrave’s ultimate purpose: bitter at not being able to punish murderers in a way they ‘deserve,’ and desperate to get the recognition he ‘deserves,’ he makes himself into a god of death – if only to the small community on the island. But he has help: forming an alliance with Dr. Armstrong, the two men fake the judge’s death. Shortly after, Wargrave murders Armstrong before slowly stalking the remaining three – Blore, Claythorne and Lombard. As the three band together to find a way off the island, Blore is taken out. With only two left, Claythorne suspects Lombard of the murders and shoots him on the beach.
But it’s only when she stumbles back to the house, in shock, with the intention of hanging herself, that the story reveals its final secret. For as Claythorne is standing on a chair, with a noose around her neck, Wargrave finally comes forward to confess his guilt.
Interestingly, it was just as de la Torre guessed – the final victim, the true killer – everything. And that was perhaps my biggest learning from talking about the wardrobe in And Then There Were None with her. Our subconscious emotions around colors, clothing, even hair and makeup – all of it is fodder for the costumers, designers and artists of the film. While the script and performances are what we normally turn to for the reveal, sometimes the full story is hiding in plain sight, if you just know where to look.
Thirsty Thursday on Soldier's Island
The pros and cons of dating in "And Then There Were None."
I’ve spent enough time hanging out with other fans of period dramas to know that we share a dirty little secret: we’re not just here for the articles, if you know what I mean. While we might have started these shows for the costumes, the romantic storylines, or to see history interpreted through a modern lens, a lot of us stick around to indulge our harmless crushes on the characters – or the actors that portray them.
So imagine our excitement at WGBH HQ (basically the official Period Drama Fan Club) when we heard that the 2015 BBC version of And Then There Were None would be rebroadcasting on our own WGBX44.
The series has everything you could ask for – suspense, romance, scenic vistas, stunning cinematography and absolutely gorgeous costumes. But it also features absolutely swoon-worthy performers like Toby Stephens, Anna Maxwell Martin, and Poldark darling Aidan Turner in a scene that I’m surprised my TV didn’t catch on fire during (trust me, you’ll know it when you see it). All in period dress and distress on Soldiers Island? Yes Please.
Now obviously there’s a caveat in this particular instance: these characters are, to the person, very. bad. individuals. Hopefully this goes without saying, but no one here at WGBH is condoning getting involved with a murderer. But let’s be honest, what else is the internet for if you can’t anonymously (at least for you, dear reader; it’s too late for me) indulge in wholly inappropriate thirst for attractive fictional killers?
By the time this article is published, we’ll have aired the first two episodes in this three part miniseries. In an effort to keep your internet infatuation experience spoiler free, we’ll put in big, Soldier Island sized warnings between episodes. If you’re just here for those Aidan Turner gifs, scroll through at your own risk!
Now, without further ado, for your consideration:
Pros: Marston, played by Douglas Booth, is pretty much the platonic ideal of a handsome, bright young thing. Even in the novel, he’s described as “not a man, but a young God, a Hero God out of some Northern Saga.” Phew. Marston is vital, enthusiastic, and definitely here to have a good time. If you like fast cars, lovely clothes and vintage party drugs (from before everyone knew party drugs were not a great idea), he’s the perfect man for you.
Cons: This guy will never care about you as much as he cares about his car, which directs us neatly to the very obvious dealbreaker: he’s committed vehicular manslaughter and barely remembers, let alone feels remorse for, running down two young children. As he would say, “jolly bad luck!”
Pros: Anna Maxwell Martin is a lovely and talented actor, but her Ethel Rogers suffers from a serious case of the Drab: it’s easy to sleep on housekeepers in favor of more fashionably-dressed heiresses, but it’s nearly always a mistake. Get Ethel out of her grimy uniform and into something fun that matches those fabulous sunglasses, and you’ll have a hottie on your hands. She’s a hardworking, talented cook and an attentive housekeeper, and while looks and a passion for homemaking are lovely, what’s most important is that she’s the only person in the group who feels bad about what she did. Honestly, she’s your best bet for a ‘normal’ person.
Cons: Ethel definitely knows what’s right, but that doesn’t mean she’ll stand up for herself, or her beliefs - and we’re looking for a partner, not a push-over. And even though she’s probably the best person on the island, that doesn’t change the fact that she’s a murderer.
That’s it for Episode 1! Read on for more characters, but fair warning, there will be spoilers for Episode 2 below.
General John MacArthur
Pros: General MacArthur, portrayed by Sam Neill, not only has a decorated service record in World War I, but also has, hands-down, the best mustache in the series. He’s one of the first characters to recognize the reality of their situation (trapped on an island, death imminent), so you know he’s bright. Not only that, but he handles certain death with aplomb, remaining circumspect and pleasant. Devoted and surprisingly gentle given his profession, MacArthur is practically a catch, especially if sitting on a cliff and gazing out to sea while contemplating your past misdeeds is your idea of a perfect date.
Cons: Look, obviously it’s bad to murder the man who’s sleeping with your wife. But hey! His wrath was entirely focused on the other man, so anyone romancing him would be fairly safe. Downside? He’s clearly still pining for his wife, so he’s probably not interested in you anyway.
Pros: I’m not going to sit here and pretend that Thomas Rogers is a great catch. Noah Taylor does a fantastic job, but he has a niche, and that niche is jerks (see Peaky Blinders or Game of Thrones). To be fair, I will say that Rogers has a one good feature: an iron sense of duty and loyalty. When his wife, Ethel, is murdered, he reverts to the classic British stiff upper lip and keeps on working, refusing to leave “until my employer dismisses me.” And while he’s an absolute ass to Ethel while she’s alive, he’s (privately) distraught at her death, so... maybe there’s a heart under there somewhere?
Cons: Who are we kidding: this guy is unpleasant if not downright mean whenever he can get away with it. He also was clearly the instigator in his previous employer’s murder, so in a way, he’s also partly responsible for his wife’s death. Nice job, guy.
Pros: Again, this character is not a pleasant person for a lot of reasons, but I will give Emily Brent, played by Miranda Richardson, this: her cutting jibes could be a whole lot of fun if they weren’t directed at you (with the obvious exception of her rampant anti-semitism and bigotry). If you can get past her scrutiny, she could be the attractive, well-dressed, rich older woman you snagged, and you could have scads of fun judging people together at cocktail parties. And you might even end the night with a literal roll in the hay, because judging by that field scene, she is not averse to getting down in the great outdoors.
Cons: Not only is Emily Brent is a bigot, but she allows her “social graces” to excuse her from doing the right thing. She’s scathingly rude to anyone she considers beneath her (so, everyone), and reverts to repressive, condemning propriety because of what we’re guessing is her closeted attraction to women. Boo.
That’s all for episode 2! Read on at your own risk, there will DEFINITELY be spoilers below the cut.
DS William Blore
Pros: Burn Gorman’s DS William Blore seems at first to be an awkward fuddy duddy, but if you can look beyond his painfully unfashionable (but era-appropriate) mustache, he’s kinda cute, in a certain... British... way. He’s also definitely someone you want at a party - he knows how to have a good time, and won’t be yelling about death in the style of a beat poet like Armstrong. But the thing that makes this character really fanciable is his emotional vulnerability, which is only revealed as he begins to fear for his life. Blore’s monologue about his allotment and what he’ll have to leave unfinished when he’s gone is one of the most moving scenes in the whole series.
Cons: Of all the characters he’s one of the best in terms of moral growth, eventually realizing that what he did was wrong and feeling genuine guilt and remorse. But he’s also paranoid, accusatory, and is overly conscious of his station. Worst of all, he’s guilty of bigotry AND police brutality, having literally kicked a gay man to death.
Doctor Edward Armstrong
Pros: What can I say about Toby Stephens’ Dr. Armstrong? He is a pretty good looking guy, and he’s got the second best mustache in the bunch. He’s also a doctor (fancy!) who knows how to rock a mean fedora, owns a gorgeous car, and is, we can assume, rich. And when he finally decides to let loose, things get wild – we’re talking “distract yourself from the fact that you’re trapped on death island with a bunch of murderers” wild. Also, actor Stephen’s mother is Maggie Smith (cue Hallelujah Chorus), and if we can’t work her as a mother-in-law that into the elaborate fantasy we’re writing in our brain, what good are we?
Cons: Armstrong is a lousy doctor: he divulges Wargrave’s confidential patient information (bad) and murders a patient by operating whilst drunk (bad!). He’s arrogant, blustery, and a doofus - not only does he let his misogyny keep him from listening to Vera, but he makes an alliance with the murderer. Way to be, dummy!
Pros: The one you’ve been waiting for: Philip Lombard, our smart, resourceful, loyal, and very, very hot dreamboat. Aidan Turner really took one for the team here, spending a good chunk of time lounging about in a (sinfully low slung) towel as the rest of the gang searches for his gun. It’s ab country boys and girls, and he’s the dang emperor. But beyond Turner’s essay-worthy physique, it’s Lombard’s character that really gets us. He’s got a frankly un-English amount of swagger, which makes him stand out from the rest of the crowd - well, that and his long, smoldering stares. I could write more, but instead why don’t you enjoy these gifs?
Cons: Only one – but it’s GENOCIDE. Seriously folks, I’m not here to excuse Lombard’s behavior: he is a straight-up monster with the highest kill-count of them all, and doesn’t have an ounce of remorse when it comes up. He also doesn’t appear to have an ounce of body fat, but really, do you want to be Captain Genocide’s girlfriend?
Pros: Vera, played by Maeve Dermody, has a lot to recommend her. When she’s not coping with the specter of imminent death, she’s a total babe, and has some truly fantastic clothes - dating her might be worth her homicidal tendencies just for borrowing rights on her beachwear. Beyond just the physical and fashionable, she’s also probably the smartest person on the island - she figures out the murderer’s game first, and is confident in her conclusions even though Dr.
Arsehole Armstrong keeps calling her hysterical and accusing her of murder. She’s also completely determined to stay alive, no matter what it takes, which is certainly admirable.
Cons: Vera’s resourcefulness comes from the fact that she is completely cold-blooded. She’ll do whatever it takes to survive, including killing her lover and trying to bargain with a murderer. Also, she’s an awful nanny, having murdered her charge so her boyfriend could get his inheritance. Definitely not a good partner for those who want kids someday!
Justice Lawrence Wargrave
Pros: Look, I can’t be the only one who finds Charles Dance attractive. He’s killing the “distinguished older gentleman/badass” game, and he knows it. Those imperious stares and tiny “I know something you don’t know” smiles? YES. Also, for those of you keeping score at home, please note that for a hot minute he was literally the only non-murderer on the island. That has to count for something! Not only that, but he’s an upstanding member of society, incredibly smart, cunning, and has a – dare I say – aggressive love for justice (wink, nudge, etc.). What’s not to like?
Cons: He may start out a non-murderer, but that doesn’t last long – he’s the architect of this whole Most Dangerous Game meets Gilligan’s Island situation. He may only take out people that have escaped justice, but there’s a reason vigilante justice is frowned upon: only one of them needs to be innocent for him to become the most horrifying killer of the lot.