Yes: domineering, possessive, and mistrustful—but still a compromise. I was, of course, wrong. Christian immediately calls in a favor from a friend and has Jack fired. No one spends one second wondering whether this is the best way—as opposed to, say, filing a report, talking to HR, or pressing charges—to deal with workplace assault. His assistant Ana, of course. Said editor-in-chief is, of course, a man. Men are bosses; women are assistants and housekeepers and submissives. No one seems to recall or care that it was the direct result of Christian having had her boss fired.
The two women take turns trying to be more pitiable than one another. I do, too. We all do. Christian again arrives to save the day.
He orders Ana to go to his apartment. Ana goes to his apartment, but not for a couple of hours. The correct word is a sadist. There is no sign that she considers the former admission any serious obstacle to the latter proposition.
In the books, it essentially answers itself: She is the first-person narrator, and as such implicitly rooted for. We are all our own first-person narrators, and for the most part imagine we have due whatever might come to us. Christian has to take a business trip to Portland with a female subordinate I know: redundant. Back in Seattle, his friends and family are horrified by TV news reports that Christian is missing and presumed dead.
Oh no! Elena already didn't like Ana, and this probably won't make her more likely to leave the happy young couple alone. With threats to Ana and Christian's relationship coming from all sides, not to mention the growing pains still evident in their relationship, it will be a miracle if they actually make it to their vows. But, hey, that's what Fifty Shades Freed is for. By Olivia Truffaut-Wong.
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