#also i promise i did not intend to make a doctor superion manifesto out of this

[sisterdivinium]

I know I've already spoken a lot after @fulcrum-art-fox 's post (and by going on a tangent, too, I'm still sorry for that), but my mind remains stuck on Jillian (oops!) so here goes a bit more chaotic blabbering to go with what came earlier.

See, yes, there's a parallel between Jillian and the Holy Mother (and I had already touched upon it here and here as well), but what made me stop and think a little more was a passage I read recently in the Jansons' The picture history of painting:

"The Byzantine artist did not think of the Madonna as being at all like an ordinary, human mother. To him she was the Queen of Heaven, far removed from everyday life and beautiful beyond any man's imagination. And he has painted her the way he felt about her: not as a woman of flesh and blood but an ideal figure bathed in the golden light of heaven."

What stands out to me here is less the actual piece being examined (this, if you're curious) but the idea of being removed from everyday life, of being distant from the common people, being an ideal figure who isn't made of flesh and blood.

That's exactly what Jillian more or less sets out to do in s1 through the image she presents to the world.

But, contrary to the Madonna being painted by an artist following what the latter might feel about her, Jillian, the budding demiurge, creates this image for herself. The whites, the blue, the theatre of it all wouldn't be lost on a woman as intelligent as she is; her pregnancy was "a medical marvel", now she opens up the "world's first quantum portal"... Ava says doctor Salvius creates superpowers on the daily, but these feats could be seen as miracles... No wonder cardinal Duretti is invited to witness Jillian's triumph.

As this miracle-maker, this special specimen above the rest of humanity, there must be a (fabricated) distance in her dealings with people. She singles herself out when presenting her creation or revealing the footage of Beatrice destroying her security, she stands out from the crowd more as a pale, fearsome marble statue than as a normal human woman.

And, so distanced from others, she barely ever touches anyone else (barring Michael, of course) apart from a very light, almost reluctant tap to a subordinate's shoulder or a grip on Ava that is less about Ava herself and more about what advantages connecting her to the ark might ultimately present. Her touching Lilith for her temperature is likewise less about Lilith's well-being and more about Jillian's own plans for her, a touch with underlying, secret intent.

It's almost as if touch is repulsive to her regarding these other persons, a risk to her carefully curated image, whereas her contact with Michael is affectionate and genuine, unrestrained by the "sainthood" of the genius given how it happens far from the public eye, from anyone she might want/need to impress, amaze or enthrall.

I had talked about the femininity of s1 Jillian as it helps her pull on a show, but there's something about her specific brand of it that is icy, that pushes people away. All that white, that immaculate appearance as if to dare others to try soiling it; where the Virgin Mary is a loving mother to be adored, Jillian Salvius concocts the persona of a terrifying creature not to be provoked, bathed not "in the golden light of heaven" but in the blue light of relentless scientific ambition.

We already know this facade comes crumbling down by s2, but what's interesting is that, as @fulcrum-art-fox's post points out, the consequences of this comparison to the Holy Mother persist. Jillian is no longer bedecked in blue and white, but she pays the price paid by Mary, unable to take action in order to protect her son from what befalls him.

Suddenly, this woman who constructed her own intangibility, her own sort of "divinity" by not being available to be touched by others, finds herself in isolation in a way she had not predicted -- set apart even when she might not want to be, kept away from her own son and from those others which at first she had so carefully kept at bay.

Which again might inspire us to wonder whether any of this is punishment for her presumption. Did she want to create miracles, stand above the lot of common mortals? Well, here are the consequences: you do not play at being the holy mother without the suffering that comes with it.

Maybe it's the blasphemy of it -- or maybe it's just the result of a very human arrogance which she has every opportunity to regret.

I had mentioned before how all of these ties between Jillian and the Virgin actually enforce themes of Michael standing for a redeemer -- the story of Mary is pretty much the story of Jesus. However, the story of Jillian can hardly be expected to be the story of Michael alone in a show that is so thoughtful regarding its female characters, so the future of WN must have something intriguing in store for her. If her role as Michael's mother has ended, her newfound connection to the OCS surely points at a new path for doctor Salvius.

Her relationship to touch alone is already different; if season one saw her wary of it, even protected from it, season two has her actually be touched by someone else, breaking through her "godly" defences. Lilith threatens her, Kristian appeals to her in what is a repulsive action, asking her to overlook what was done to herself and to her son in favour of Adriel's so-called revelations. Whatever walls she had built around herself are revealed as the illusions they truly are as they no longer shield her from others.

But there are two other instances of touch we can't ignore, moments that draw her into something different; not aggression, not cynical beseeching, but something else: we are given a desperation on Jillian's part and a rare, perhaps much-needed support on Mother Superion's. These are new, authentic moments of connection that also shatter the barriers her previous persona had erected and they hint at the possibility of novel dynamics. Jillian is no longer isolated as per her own design, but approaching someone else, being welcomed in turn, yanked painfully down from her self-created pedestal to walk the Earth as a mortal woman and no longer as a white, unblemished icon.

With Michael gone (if so he remains), Jillian might be freed of the ties to the Virgin -- built through her own efforts -- to be her own woman, surrounded by these others who propose another mode of existing, almost like Ava understood the notion of helping others through the OCS as well. Her role in the story isn't over, cannot be over: who is she when she is not just a mother or just the embodiment of her company? Who is she when participating in community instead of elevated to an artificial position above the rest that endangered her own sense of humanity? Who is she without the myth of her own design?

We eagerly await for how these new developments concerning her unfold...