#also i think nancy’s character arc is her realising that shes been closing herself off from her family | Explore Tumblr posts and blogs

punkscowardschampions · 4 years ago

Text

Gen 4.1 Planning

Libi: Okay, so my basic premise for who Libi is going to be at her core, WOO; I was thinking about how we said that she is Tess' second (lowkey third but I'll let you live gal) chance at 'getting it right' and raising a child well, which, OBVIOUSLY, she's never told or anything but there's an innate pressure in that that you'd know on some level, likewise her mum AND dad died so everyone would be quick with those comparisons always, this family and Liam's mum when that contact is made because her daughter died as well as; Then that made me think of the pressure Ro felt because you know, bad shit happened to Bea (Edie and Liam in this case) and then she got saved by McVickers and felt like she owed everyone to be great and do great things; so my vibe is that BUT COMING FROM A LESS SELFISH, WEIRD, PERFECTIONISM ANGLE soz not soz Ro, we know what you did; I see her being better behaved as she grows up, far more than her parents obviously but lowkey better behaved than any of the mcvickers or cali kids ever were because she thinks everyone deserves that, her not causing any more problems, but again UNLIKE Ro, she wouldn't be different to a degree of not fitting in because she'd make a massive effort to be there for everyone and every event, be likeable and get along with as much of the fam as possible, obviously some of that is natural charm but it's also putting in the time ahem Rosaline; like, she's a people pleaser, to a fault, and all she cares about is making everyone else, Tess, Fearghal, Ali, JJ etc etc, happy and making sure she's being what she thinks they want her to be/need her to be, and like that is what makes her happy because she is doing it out of love and respect not obligation but she doesn't know she's doing it, you know? Again, it's innate, how she is, but that's where the arc can come in, in realising that she goes with what makes everyone else happy, is who they need, but what does SHE want herself, and what does SHE need? A way I thought we could make this a Bobby/Libi storyline if we wanted (but we do not have to) is if she does have feelings for him, could be any point on his timeline gfs and kids wise whatever, but she lets him go and have whatever gf or do whatever thing because she's like that's what he wants he doesn't like me or want me like that etc, because she doesn't let herself want things selfishly or do anything just for herself Bobby: we should totally have them be together as little bubs because they are and it's like a running joke that they are gonna get together/get married like we've lowkey already said but more so but maybe the vibe is he is really shy how he is and lowkey it's like a my sister and me vibe where she does all the talking and socialising for him and like all their friends are joint friends Bobby: not in a creepy Ro and Ali way but Bobby: and we will let you outgrow that sir Libi: it makes sense because obviously we're learning sign language so simply Bobby can't communicate with most kids by himself, that's facts, and it's easier to have another kid help you than Jimmy always being there, or whoever he has helping him at school, you know Bobby: oh snap maybe I flip reverse what I said and Cammie's mum is the deaf one too and the vibe could be that like Libi pushes him to get some deaf friends as they become like tweens/teens so he can communicate himself so he does and does become more outgrowing that way but maybe he lowkey leans too hard into deaf culture for a while there and she feels like pushed out by it because it's something she can't be a part of Libi: ooh yeah, that makes a lot of sense Bobby: it adds something to Cammie's character as well being hearing but having two deaf parents so that's interesting Bobby: and also makes sense why JJ have to help them so much as well as them just being young Libi: right, there's a lot of shit Cammie would have to do from a young age if not for JJ lowkey 'cos it's just easier for a hearing kid than it is a deaf adult in this world Libi: her mum could maybe be more partial for ease but yes Bobby: and like it makes sense that Libi would push her feelings aside when those two grow closer/happen because she'd be like well they're both deaf that's something I can't give him and something I want him to have Libi: exactly, it'd feel really selfish to wreck that even if you didn't have all the ingrained shit she does around it Bobby: and obviously he actually wants to be with her as well but thinks she doesn't want that and before you now it there's baby Cammie so it's like well now I gotta try and make this work because don't wanna be a shit father like I had Libi: oh the drama of it all Libi: love it Libi: and we've not really got (that I can think of) a never mind I'll find someone like you type deal Libi: because usually it's like JUST SAY IT but it actually makes sense here to pine and long but let him go Libi: hence I'm here for it Libi: So, what I'm thinking right now is, that they're like never officially together, like it just keeps being an in-joke kinda vibe and like we're JUST best friends and then kind of like family, but obviously as they get into tween/teen years it's beyond a stage you can pretend you're just a kid playing at being girlfriend and boyfriend and as you said boo, that will coincide with JJ wedding and kids roughly so then it'd be more obvious like it's not going to happen seriously, then she can encourage him to get deaf friends etc, but I feel like he should only meet Cammie's mum just before or at uni (or whatever equivalent he's doing after school) so then it is quick and not like they were even mates before so it's less of a shock for all, you know? Bobby: I totally agree because I strongly pictured him being best man at the JJ wedding (soz Pete) and her being one of the bridesmaids and all the bants that go along with that and them both being SO 😳 Bobby: and yeah he could live the cliché that Jac was mocking and literally get with this girl freshers week I'd believe it Libi: Right? it then mirrors the Jameson/Cammie thing except they literally are just BFFs and there isn't anything going on Libi: there's actually weight to this but we're just like haha no don't be silly Bobby: and we've literally not done that trope with childhood boy girl best friends before really because baze are probably the closest but they were always so clearly in love and refusing to fight it so it's fun Libi: exactly, because unknowingly or otherwise, we're fighting against all the cliches and tropes that come with this family Libi: like I'm going to not do any of those things that caused drama for everyone and this is clearly too close to home, even though I don't think anyone would actually be that bothered, we've just really internalized and gone with it Bobby: like how nobody cares Jac is gay except Jac herself Libi: right Libi: but obviously she's good at keeping this all internal because no one can or is gonna clock it and be like, babe, it's okay Libi: like JJ might be a bit like oop, keeping it in the family but as long as you're both happy they really don't care, and same for mcvickers even if Tess is suspish of everyone that comes into any gal's life 'cos trauma lol Bobby: Bobby wasn't trying to make deaf culture happen for himself but Libi would have been so excited for him to get out there and do it that he would've been excited too and then it is literally like a new world opening up because who has he ever interacted with that's deaf before Bobby: didn't mean to lowkey leave you behind gal but Libi: it's kinda her own fault, not to blame you but clearly literally what we do like okay he's happy now mission accomplished Bobby: and maybe Cammie's mum is like the deaf equivalent of those gays who make it their whole identity so she's really selling it and so he also thinks okay this is who I should be with Libi: we know the vibe, like it's more excusable but still, I get you Libi: I see it Libi: a bit of a baby gay equivalent like go too hard and you're like I need to calm this down Libi: UNRELATED BUT Libi: think it will please you Libi: Jay is born 32 like Bobby, I'm pretty sure, and I thought Libi and her would also make for interesting content because Jay obviously feels she owes a lot to the fam for not being stuck with Chloe etc etc and the very little we did with her gave off a similar energy to me Libi: and she has her commitment issues in relationships because of her mum situation so they can bond over the shit that holds 'em back even though it's different stuff Bobby: and her relationship with Ava being her mum but also not being is something I feel like Libi can relate to because of how she was raised and the Rio and Buster-ness of it all because they wanted to raise her and obvs they wanted to raise Jay for a while there too Bobby: plus all the travelling she does is something that Libi could potentially join her in doing if she needs an escape so that's nice Libi: 100% it makes for a strong friendship there's a lot of parallels if not total similarities Libi: it makes a lot of sense, it's coming together baby Bobby: if you need to get away from seeing Bobby literally playing happy families, I can offer you that gal because I'm gonna have her go to uni/live in new york probably now that Nancy isn't because her face actually did live there idk if they still do or what but Bobby: we know the vibe is that she goes everywhere and can't settle so you'll have lots of chances to run away in a way that won't upset anyone Bobby: and when she gets her man and it works out we could totally coincide that because she can be like if I can do it so can you Libi: a mood a moment Bobby: all I know is Bobby is gonna be more chatty because neither Jimothy or Jesse are so I must but not to Jude levels of !!! Libi: a nice middleground Libi: which is kind of what I see for her honestly Libi: less in your face than 1. we were as a little bub 2. a lot of the fam but still sociable enough that it jives well with most of 'em Bobby: I'm so happy about all of this and honestly Cammie's mum being deaf makes so much sense in terms of what we were already thinking about her being more distant and working a lot Libi: if she doesn't give up the fight, she could be some kind of advocate vibe Libi: 'cos then Cammie can't even call her out really Libi: like soz this is important, maam your child Bobby: exactly what I was thinking we're in sync rn boo Libi: because it all makes sense, you gotta follow one thread and then the story shows itself tbh Libi: because tying in Astrid too, obviously that makes sense because she loses her mum too, and she'd ultimately be a really good influence because after Ro dies Astrid is kind of freed to do whatever she wants for herself Libi: and how much happier it makes her, how much she improves...well Libi: sips tea Bobby: I LOVE THIS Libi: and who else is taking the autistic girl that seriously and letting her teach you things Libi: love that for you Libi: she's living her best life and we can see that Bobby: she can be in their friend group, I'm happy Libi: ALSO, I feel as if she couldn't lie to Astrid Libi: because she says how she sees it bluntly and we're not going to feel comfortable fobbing her off because of that insistence, so that'll be good for you even when we're hiding it from everyone else Libi: everyone else you've just got to be vaguely like oh no no and it's dropped and like okay Bobby: we're gonna get to show so many different sides of Libi, I'm always here for that Bobby: and however far we go down the Astrid and her gf eating disorder rabbit hole, we''ll have Libi not treating her like a kid which is great Libi: yeah, there's loads we can do with the end of gen 4 for them all it's a mood Bobby: okay so what or who would you like to throw Libi at first Libi: that is the question Bobby: just so we know Bobby is going to Trinity and studying Business, Economics and Social Studies (B.E.S.S.) which is business, economics, political science and sociology basically so he can end up working at that advertising place with Jimothy after he has done this 4 years Bobby: Cammie's mum is there doing deaf studies which is also 4 years Libi: do we wanna do a rough timeline for these people mentioned here Libi: Jay born 32, we find out about her when she's 7 in 39 Libi: Bobby is born 32 and comes into the story 38 Libi: Libi is born 34, Edam die 35, we know this situation, is 4 soon to be 5 when she meets Bobby vias JJ Libi: Astrid is born 35 and Ro dies in 44 when Astrid is 9 Libi: JJ can get married 46, so Libi is 12 and Bobby is 14 Libi: doesn't have to be when we intro the deaf friends to the point of exclusion obvs but it's timed so we never have the 'real' relationship chat of it all obvs Libi: so Bobby would go to uni in 50-51 and Camie is born 51 start of 2nd year Libi: that gives us this good 4 year period before uni to play with, then obviously we know the vibe of when she's born and making that work etc Libi: Hmm, I think it would make the most sense to do a gap year then stay local, like that's the ideal Libi: because I really think she'd struggle being away from the fam Libi: but I'm kinda thinking maybe to be cruel she DOES go away because it seems like something the fam are like yay about Libi: 'cos she'd try really, really hard to stay but they should at least notice that and she can transfer for a reprieve Bobby: that's really nice actually Libi: she should do her first year in Liverpool, the rest at Trinity Libi: okay, so film studies, it was only 3 years in Liverpool but we're changing to trinity and you do years 1 and 2 (aka whilst Bobby is still there at least for year 1 but I need to check anyway) there and years 3 and 4 at Columbia uni in new york, aka where Jay is Libi: **remind me to check the times but we need to give him a solid bday and I'm changing hers up too Libi: this is just roughly Libi: but this way we can be cruel with it lol

#gen 4 #just bibi actually but you know #a bit of jay and astrid etc

1 note · View note

elixir448 · 5 years ago

Text

Good Girls 3x02 Thoughts

The Opening Scene

I think we all knew that Rio was knocking on Rhea’s door, rather than Beth’s. Even so, this opening scene was a gift. Of course, it is meant to mislead the audience into thinking that we are going to see Beth and Rio come face to face for the first time since she shot him but there’s so much more to talk about!

First of all, this season is really setting up Beth and Rio’s relationship as the major driver of the plot and, arguably, this has always been the case. The show is definitely about the girls but Beth and Rio’s relationship (both personal and professional) pushes the story forward. In my opinion, it’s second only to the girls’ changing motivations for being in crime, in terms of plot progression. Manny referred to Beth as Rio’s “archnemesis” in a recent interview and I know a lot of people disagree with this and think it’s funny. While I think the terminology is perhaps a bit off, I think the idea is there and what I love about it is that Beth and Rio’s relationship is so difficult to define, which I touched upon in my 3x01 thoughts post, and it’s impossible to encompass what they are to each other with one word. They have been so many things at so many different times and, gosh, now they have history. A painful, spiteful, kind of tragic, extremely messy history. I love that this season seems to be gearing these two up for what looks like a major confrontation at some point. I can really see things exploding between them later in the season, on a level beyond the alley scene in 2x07.

I’m digressing but the point is that this scene really sets them up as antagonists again, which they have been on and off for the past two seasons. In fact, I’d argue that the term never really departed from their relationship at all and it looks like we’ll be going back to the facade of one-dimensional antagonism for a little while but with the weight of the history they now share, it seems unlikely that they’ll be fooling anyone.

I think it was @foxmagpie who pointed out that Beth is staring into the mirror that Rio smashed in her fantasy in 2x05 and I practically had a stroke when I read that. The way the scene is set up, with Beth and Rio both looking in mirrors is so symbolic of their relationship and what they are to each other. While I would hesitate to call them mirror images, I certainly think that Beth and Rio are similar in the fundamental ways that shape a person but they are so different in others, particularly in the ways that they occupy the worlds that they live in and the lives they have lived.

While Beth is staring in the mirror, we hear Dean say “well, how much did you get for it?!” and it’s quite startling and almost intrusive. Beth and Rio aren’t even in the same room but they’re basically having a moment. And of course Dean has to intrude. Even though Dean is Beth’s husband and despite everything he did in season 2 to keep her, it really represents to me that Dean has been the outsider ever since Beth and Rio met. And, despite Dean’s belief that Rio has been forcing his way into Beth’s life, the reality is that he is the one who has been intruding into their relationship.

Rio has a new car! It’s a G-wagon, it’s loud and kind of pretentious. I do miss the Cadillac but I love that his new car lines up so well with how he’s been this season, which is loud! He had Agent Turner and several other FBI agents killed in the first episode alone. If that’s not loud, I don’t know what is.

Marcus and Rio’s reunion was the sweetest thing ever. I thought my heart was going to explode and release like a ton of rainbows and sunshine and unicorns. The way that Rio held Marcus really said everything about how much he missed his son. Rhea seemed a little ticked off about his sudden reappearance but happy and accepting overall, which really just adds to what we have already learned about the breakdown of their relationship and Rio’s presence in Marcus’ life. I know I said it last week but I have to say it again. I love how much this detail further humanizes Rio, beyond what the introduction of Marcus in 2x01 achieved. He’s not infallible and he has his own, very personal, flaws that affect his family. Just like Beth.

I’ve been seeing a lot of speculation that Rhea knows more than she has been letting on to Beth. Again, I don’t think that’s true. I think Rhea really just saw her relationship with Beth as a genuine friendship and I don’t think she knows anything else. Towards the end of the episode, Beth of course speaks to Rhea and I think that once Rio realised who Rhea’s soccer mum friend was, he filled Rhea in enough for her to realise that Beth intentionally sought her out and cultivated a friendship. This could mean that he told her everything but I doubt that very much. I think he probably told her just enough for Rhea to feel a great deal of hurt over Beth’s actions.

I am a little disappointed that we never got to see the scene where Rio clocks on to the fact that it’s Beth that Rhea is talking about. We’ve been robbed! But honestly I loved the episode so much that it’s fine I guess.

Annie, Sadie, Gregg and Nancy

I really love, love, loved the writers including how difficult transitioning can be because of people around you not keeping up, even if they are fully accepting. I’m not surprised though because the writers have handled Ben’s arc so well.

As for Gregg and Nancy attending couples therapy, I’m not exactly surprised. I do wish that they had parted ways but I do recognise that it’s such a difficult situation to handle with a newborn baby and I do appreciate the realism of it. I personally grew up with a mum who put up with way too much and lived a life that she was way above but she didn’t walk away because of me and my brother. I also see what people mean when they talk about wanting to see Beth take control and walk away from Dean for good because staying together for the sake of the kids is overrated, and I also see how this relates to wanting Nancy to walk away from Gregg. Believe me, I really want to see Beth and Dean part ways, with regards to their marriage. But I also really empathise with the situations Beth and Nancy are both in, for different reasons. Nancy can, of course, financially support herself and her child but Dakota is a newborn baby and I can see why parting ways with Gregg at such a time would be so difficult when they both want to raise their child and be around at all times as he grows up. For Beth, it’s really about financial security and stability and it’s so interesting to me that she continues to chase this with Dean, as he clearly has sunk the family business multiple times before (as discussed by Beth and Annie in 2x04). I think it’s become a bit of a habit at this point, which I am keen to see broken this season!

As for Annie attending therapy. I love it! I think Annie’s at the beginning of a really interesting, introspective path this season and we really saw it doubled down in this episode, with her being called out by Ben once again and comparing her life to a major road traffic accident. I really hope the writers continue with these random introspective moments for Annie, sinceI’m really enjoying them. Her scene with the kid prior to the therapy appointment was A+++, so funny! I wonder if that kid is going to turn up again, especially since he was in quite a few bts pics during hiatus. He’s such an amazing little actor too!

I’m really interested in seeing where her arc goes. We know that she develops an inappropriate crush in 3x04 and I think we all think it’ll be on her therapist; if this is the case, I’m really curious to see whether her therapist finds out and if he reciprocates because it would be incredibly unprofessional and unethical if he pursued something with his own patient.

Also, Annie is the manager! I straight up hollered during that scene. Mae’s line delivery continues to be hilarious and totally spot-on.

(Side-note here but I love that Beth was drinking a slushie again and that she answers the phone call from Ruby with “hey lady.”)

Judith, Beth and Dean

I really loved Judith and Beth’s scenes in this episode and the depiction of the archetypal mother-in-law and daughter-in-law relationship. I particularly loved how it emphasised that Dean cannot defend Beth at all; not once in the entire flipping episode did he say a word to help her.

Throughout the episode, we see that Judith is a lot like Dean when it comes to Beth. They don’t listen to her and they don’t see her. Beth had to repeatedly explain that her workplace sells “not just cards” and this is strikingly similar to Dean’s blatant disregard for Beth’s opinions and thoughts.

I think the writers and Jessica Walter did a fantastic job of capturing the complexity of a character like Judith. I’m quite passionate about this kind of thing because I grew up in a family where it was commonplace to see a sort of bitterness develop in women who had suffered a lifetime of simultaneous oppression and complete disregard from men and who had, as a result, developed a kind of internalised misogyny. More so, I love that the writers portray Judith as a character who is very much aware of this bitterness and yet she still personifies what those very men expected of her and she now expects the same from her daughter-in-law.

And yes! I wished that the writers would touch on mental health again and I got it! The discussion about post-partum depression is SO IMPORTANT. Women aren’t just mothers once they have kids; yes, it’s often a crucial part of their identity but it’s certainly not everything. Not even close to everything.

Judith sacrified her working life to raise Dean because her husband made more money than she did and it was expected of her to raise a child; she did not feel like she could have both. She patronises Beth in this scene, acting as though Beth should know better by now. What I love most about this is Beth saying that Judith’s happiness was important and that she shouldn’t have quit. It represents so much growth to me because we’ve seen Beth back-slide into the misshapen family she has with Dean. This really represents to me that, internally, she’s moving forwards and she won’t let herself be held back by Dean.

(Another side-note but I love that Beth affectionately calls Kenny “KB” and that his full name is Kenneth Irving Boland.)

Beth

We talk about it all the time but Beth is veeerrryy good at compartmentalising. We’ve seen it numerous times. With relation to this scene, I love that she clearly feels weird about Turner’s death and that the girls seem to appreciate the possibility that she might be upset over it, as her and Agent Turner did have a weird kind of relationship that she enjoyed sometimes. I think, in her own way, she resented him but also respected his ability to see through her and match her. She definitely really enjoyed the high she got from one-upping him.

Despite this, Beth lays down the flowers and is all about business again. She processes her emotions and moves on and we’ve seen her do that a lot. She did it with Dean in 1x01, when she wrecked his study with a sledgehammer and yanked the pig off of Boland Motors but then went straight back to sorting out financial matters with him and being civil. She resented Mary Pat for extorting them but she seemed to come to terms with how similar they were in season 1. She was tearful over Dean’s cancer diagnosis but she processed it and came up with the idea to launder money through stores. We’ve seen it now with Agent Turner, her processing his death and moving on. I love how perturbed the girls were by Beth’s reaction; they really have clocked on to this side of Beth that they never saw before the events of seasons 1 and 2, how she can’t quite get enough crime and they are maybe now realising that Beth has always exhibited a kind of ruthless pragmatism.

The only person we arguably haven’t seen her do this with is Rio; she’s never been able to process her relationship with him. Following the ‘breakup’ scene in 1x09, she was clearly grieving something and she couldn’t move on like she had with any of her other relationships. Instead, by having him arrested (even if it was only for a short time), she ensured Rio could not turn his back on her.

As I said before, Rio’s shadow hangs over Beth’s arc and Beth’s shadow hangs over Rio’s scenes. Beth continues to learn from what she saw of Rio and she continues to try and emulate him. What I love most of all is that this is rarely successful, compared to what she manages to achieve in this episode by playing on her own, personal strengths, for example the scene where she speaks to the manager and lists all of the community positions she holds. Despite this, she has a lot to learn and she really needs to stop and think sometimes (gosh, I don’t know if she’s ever going to do that haha) before barrelling into a situation. Annie is absolutely right; Beth will never be Rio, no matter how much she tries to think like him or act like him, because they have their own strengths and the world regards them differently.

I do love that she has clearly learnt a couple of things from Rio, such as outsourcing in order to launder the counterfeit cash and, my personal favourite, she’s finally realised that there are consequences for screwing up. In this episode, she teaches Annie a lesson about how, if they continue to be taken advantage of by criminals attempting to renegotiate deals, eventually everyone will know and exploit it. It really reminded me of Rio’s rotten egg lesson in 1x07. Say what you want but these two definitely have some good teaching moments haha.

Don’t even get me started on Beth completely zoning Dean out and thinking about crimeing. She’s just always thinking about crimeing, so much so that she lets her mother-in-law come into her house and belittle her, solely because Judith is cleaning up after the kids and Dean (and ironing Dean’s boxers, eewwwwww); clearly, Beth’s priorities have shifted alot over the timeskip. That scene where she just goes full mum Bethie mode, serving lemonade and walking like an absolute queen to the truck, to get what she wants from the movers. That hair, those big blue eyes, that sweater and that French music! Perfection! AND SHE HAS A CHINESE SYMBOL TATTOOOOOOOOOOOOOOOOOOOOOOOO!!!!!!!! ON HER HIP!!!!! OMG!!!!!!!!!!!! I NEED RIO TO REFER TO THAT AT SOME POINT THIS SEASON!

Ahem. Anyway, my second favourite scene in this episode was the scene between Beth and the mover in her backyard. Gosh, it was amazing. And I loved her blouse. The music, the intensity, the power play, the staring. Oh my god. I have watched it about 100 times already. It was genuinely a stunning scene and both actors killed it.

Dean and Gayle

I think there are two potential ways this is gonna go. Either Dean cheats with Gayle, after attempting to resist the temptation and grounding himself in Beth and their family, or he experiences some attention at work that he doesn’t necessarily appreciate, paralleling the attention he paid his female employees who were in a vulnerable position. Maybe it’ll be both?

Regardless, I think that this arc is really going to further separate Beth and Dean and their respective interests. I mean, so far Beth and Dean’s arcs have been entangled; even in season 2, Dean is drawn into Beth’s crimeing with Rio and the family business he inherited was used to launder money. Now, Beth and Dean have very different and separate storylines with regards to their work. Beth is crimeing and Dean is unaware of what she is up to, as she has absolutely no interest in confiding in him (I mean, she suspiciously asks him why he needs money from her; she clearly doesn’t see him as anything more than just Dean at this point). The only link they seem to share now isn’t the dealership, work or crime. It’s really only their kids. I think we’re going to see their paths diverge further this season, particularly following the kiss (which I think will be in 3x04 based on Beth’s flowery blouse in the released pictures but she’s worn it numerous times before and has already worn it in this episode, so who knows!)

Also, classic Dean paying too much gross attention to a woman’s body, even as a tattoo, making inappropriate comments and judging the movers for being ex-convicts. God, Dean is such a prick.

Ruby and Stan

The scene where Ruby felt that she and Stan were not being seen by the sales assistant was also really important. Gosh, I love how this show incorporates things that are not just relevant today but have always been relevant, you feel me. I also really loved that Stan defended his passivity in this situation with some very legitimate reasons. Fighting for what you believe in is great but it’s also okay to feel exhausted and just want to get something done. I really felt that and I feel like everyone can relate to that on some level.

I know nobody needs to hear me say this again but I’m so scared for Stan this season. Like, Manny has me scared by saying that he’s most excited for Stan’s storyline.

And yesssssss. Ruby confided in Stan. I’m so happy! What a stark contrast from Beth and Dean. These two really are the ideal relationship and couple.

That Ending!

It was basically painful to see Beth following up with Rhea throughout this episode, knowing that Rio had put the pieces together and was gearing up to reveal himself to Beth. I also love how genuine the phone call was between Beth and Rhea and it kind of broke my heart but it really is deserved. Gosh Beth, you are a whole ass mess and you and Rio really deserve eachother.

I have considered how this was going to play out so many times and I have thought of so many different ways it could have happened. We haven’t even seen it all yet but I genuinely think Rio revealing that he’s alive to Beth happened perfectly. I love the way we hear his voice first (just like Beth heard his voice first when she met him in 1x01), the way that the camera keeps Beth in frame and pans to Rio slipping into the chair next to her, not taking his eyes off of her and savouring her reaction. You can just tell that he’s thought about this moment so many times! I’ve said it before but there’s something in the way Rio moves, this kind of elegance and grace that I’ve never really seen before.

Him slipping into that chair is straight up perfection though. To me, it represents all the ways that Rio continues to just casually slip into all the parts of Beth’s life, just like he always has since the beginning of their relationship; it doesn’t even feel like an invasion, if that makes sense. That side shot we get of Beth’s face really captures how wide her eyes become, they’re practically swallowing her face she’s in so much shock.

The ringing in her ears, the way all the noise disappears from the room but we can hear the thunk of the chair as Rio sits in it and the sound of his hands clasping together, everything else becomes unimportant. THE WAY HIS HEAD IS TILTED. HOW MANY FREAKING TIMES HAS HE THOUGHT ABOUT THIS?!!!!!!!!!!!!!

Don’t even get me started on Rio’s extra AF ass kissing the bullets she shot him with as he lays them down in front of her and lists the organs that she injured in the 3x03 promo. We see how close he leans in but doesn’t touch her. I am so curious to see how he leans in and how quickly it happens. The faux gentleness in his eyes and face and voice, referring to her as “his girl”. Where is the lie?! Beth really is his mess to clean up. I am really loving the dimension that is added to their relationship with this. Like, I hate you and I want to kill you and I’m planning to kill you so nobody else can do it. It has to be me. And then when Rio realises that he can’t kill Beth, because of the bombshell she drops, I can’t wait to see that shift into something like I hate you but I guess I have to deal with you and nobody else can touch you.

As for what I think the bombshell will be. Lemme just get this out there. I don’t think it will be pregnancy for so many reasons, which have already been discussed in the fandom. It may have something to do with Beth’s operation, maybe it’s something that she does in 3x03 that we haven’t even seen yet or maybe we just won’t know until we watch the episode lol.

Anyway, I’m super excited for 3x03 and can’t wait discuss it and them speculate on 3x04 afterwards.

#nbc good girls

42 notes · View notes

pynkhues · 5 years ago

Note

Since you're a writer, I'm hoping you can shed some light on this. IMO the writers were chasing viewers in S2 and trying not to get canceled. Personally, I hate when writers toy with their audience, it means they don't have a clear picture of their characters and narrative. How do you feel about writers making it up as they go?

Ah, this post got really long, anon! Since you asked me as a writer, I’m answering as one (I hope you don’t mind! I also hope this doesnt come out as too Creative Writing 101 for people either. This is just lessons I’ve learned and use in my own practice, so I’m applying them here.)

(Also I have drawn horrible diagrams on my very pink notebook paper - I am so sorry, haha)

So first thing’s first - no. I don’t think the writers were chasing viewers (at least not beyond the way any writer is wanting an audience), and I don’t think they were making it up as they go really, but I can understand why you would think that way!

It won’t be a surprise to anyone that I love this show a lot, but coming from it as both a writer and editor - this show does have narrative problems, and the biggest ones, particularly in s2, are in execution, escalation and pacing.

I think heading into the season they had certain character arcs they wanted to follow which married well with the story they wanted to tell. In particular, I actually think the writers have a very strong handle on the girls (I will say that I’ve had a few asks telling me Beth’s characterisation is all over the place, which I’m curious about, just because I personally find her very consistent, and when I’ve asked for clarification, I’ve never gotten any reply, so ¯\_(ツ)_/¯)

I mean, look at their s2 arcs on paper, right?

Ruby tries to negotiate Stan’s lowered opinion of her after the reveal of what she’s done, then has to negotiate him telling her to turn Beth and Annie in. She manages the situation painfully but pulls them through and they’re close again as Ruby navigates the increasingly lower depths of their crime life. When Stan acts to save Beth for Ruby and is arrested, it only escalates – the case on him driving Ruby to extremes to try and save him, including robbing a Quick Cash and using counterfeit money to bribe a lawyer. On top of that, she’s being targeted by an FBI agent who’s after her best friend who she gives up and then saves and then who tries to sacrifice herself for them. Ruby finishes the season the most morally compromised she’s ever been.

Annie gets back together with her ex only to find out that he’s gotten his not-quite-separated-wife pregnant. She splits up with him, but is heartbroken and it’s only amplified by the fact that they’ve been given a job by their Crime Boss to murder a man who tried to rape her but who’s grandmother she has a relationship with. Her sister can’t kill him, and Annie doesn’t get the chance as MP beats her to it. Upon disposing of the body though she endures a whole lot of pain as a result of both her ex’s new family and knowing she’s robbed a woman of her own. Annie goes on a guilt tour – tells her son, helps Marion, helps Nancy only to eventually find an absolver of her guilt in Noah, who builds her up and tells her she’s more than what life has given her. She lets herself have it for a while, before realising he’s FBI and there to trap her, and Annie tries to use him only to realise she can’t, and she finishes the season in a lot more hurt than she started it.

Beth struggles with guilt after getting Dean shot, gets the job to kill Boomer from Rio, can’t do it, gets support and encouragement from him (in various states of animosity), but in the end doesn’t have to find out if she can do it because MP does it instead. She’s rewarded by Rio in a way she probably never has been by anyone, her husband further subjugates her, so she has sex with Rio, starts to entertain a future with him, but he undermines her, so she seizes control from him. They work together. Dean forces her to break up with him due to jealousy, she struggles, goes back, but Rio’s stung, so unhelpful, and they play a little cat and mouse before he bails then kidnaps her and she shoots him.

With the exception of that very last sentence, I think all of those are narratively really strong pathways to have explored. Like I said above though, the issue is in execution, escalation and pacing.

But to talk about those things, I think I probably need to talk about story.

SO!

Stories have a shape.

Kurt Vonnegut talks extensively about this, and while he’ll talk about a few different types of story shapes, they really all boil down to this bad boy here:

Look at this guy.

What a beautiful thing.

He’s a story.

It doesn’t matter if you’re reading Dr Seuss or Charles Dickens, when you read a story – when you strip away its words and its characters and its settings – this is what it looks like.

Or, well.

Not quite.

Really, it’s this guy:

But we’ll talk about him in a sec.

Right now, let’s talk about that first little inch:

The Beginning

The fact that stories have a beginning is not a surprise to anyone. Stories need them. In some ways, they’re the most important part of your story. After all, the job of the beginning is to set up the world your protagonist is about to leave behind. That is essential in grounding a reader / viewer – orienting them to the world that they’re in, and getting them invested in the story you’re about to tell, if not the protagonist.

Lord of the Rings, Harry Potter, Star Wars, Game of Thrones are all excellent example of this (and frequently used in teaching) because in each of these cases it’s literal. Frodo leaves Bag End, Harry leave Privet Drive, Luke leaves Tatooine, the Starks leave Winterfell. There is a literal departure from the world before the crux of the story, and that departure is what signifies the start of the ‘hero journey’ aka the main part of your narrative.

Of course, it’s not always literal – in fact, it’s usually not. Usually that world is symbolic – it’s the single, uncertain world before the Bingley’s buy the house next door in Pride and Prejudice or the dry domestic sphere of Breaking Bad before Walt decides to make meth. It’s a marked shift, whether that’s internal or external.

In Good Girls, it’s internal.

The beginning is actually pretty perfect. The world it sets up that we’re about to (try to) depart is one of struggle and invisibility.

Beth’s in a loveless marriage promptly discovering that her husband is not only cheating but about to leave them destitute, Ruby’s getting ignored by the healthcare system and can’t afford to pay for her daughter’s wellbeing, and Annie is in a dead end job about to lose custody of her child.

Writing-wise – as a beginning, I honestly think 1.01 is close to perfect.

It sets up who these characters are, their personal conflicts, and the story world they share together, and the worlds they have on their own i.e. Ruby at the hospital and the diner, Annie at Fine and Frugal, Beth with Dean and Boland Motors.

Then:

BOOM

Inciting Incident.

The inciting incident is also often called The Point of No Return.

When I’m teaching, I personally like to call it the “You’re a wizard!” moment.

It’s when something happens that means everything set up in the beginning will be changed forever. It’s Romeo meeting Juliet, it’s Katniss volunteering for Prim, it’s Frodo deciding to take the ring to Mordor, it’s Jaimie pushing a child out a window, it’s Beth – deciding to take her little sister’s joke seriously and rob a grocery store.

(Again, I like to use Harry Potter because it’s literal – there is no return for Harry after hearing Hagrid tell him he’s a wizard. Everything is changed forever).

Inciting incidents are probably the most singularly important narrative moment, because they’re what everything else tumbles out of. Pretty much everything that happens in the story should be a direct or indirect result of the inciting incident. The inciting incident is ultimately the key of the story and what should unlock the overall arc.

When it comes to a series – whether that be a TV series, movie series or book series, each individual instalment (see: season of a show) should have its own inciting incident which – preferably – builds off the one established in the first instalment.

The Hunger Games does this really well. Katniss and Peeta being brought back into the games in Catching Fire is both an imitation inciting incident which allows the author to explore the story world further in an exciting way, and also an inciting incident that’s directly borne out of the first book / film – aka Katniss pissed enough people off during the first games that they’re going to try and kill her for real this time, which in turn gives us the opportunity to explore Katniss’ trauma, the ramifications of her actions in the first book on the broader story world, and to generate a new, compelling chapter based off of both.

Good Girls has a terrific inciting incident in s1 – which is Beth realising she’s about to lose everything.

That is our narrative point of no return.

And it works on a lot of levels – it establishes Beth as the driving engine of the story, fuelled by the chorus motivations of Annie and Ruby, rounding off both their collective and individual stakes, it sets us up for a strong narrative spine and solid characterisations.

Good Girls actually also has a terrific inciting incident in s2, which operates strongly on its own while also building firmly off the character arcs of s1.

The s2 inciting incident is Rio showing up on that park bench with Marcus, a gun and an order.

The story pivots here – giving Rio a lot of narrative thrust (get your minds out of the gutter kids), and making him a sort of secondary story engine. The core engine is still Beth, but her life is different now. She’s been traumatised and she’s exhausted, but Rio revealing his son to the girls (and tying their motivations up together in a neat little package) while forcing her to act, re-establishes her as the person who’s decisions are going to be the driving force of the narrative.

Ruby and Annie are, of course, story engines in their own right too, but they fall into line behind Beth usually, and their narrative push is actually usually away from the story throughline, but we’ll talk about that in a sec.

Rising Tension / The Middle

Okay, this is where things get a little tricky.

Do you remember this guy?

When we talk about stories, rising tension / the middle is the big guy. It’s the bulk of your narrative. It’s Where Things Happen. It’s where all the ugly stuff set up in your beginning and exploded by your inciting incident just - - grows a life of it’s own.

Or - -

Well.

Maybe not.

Forget about this guy.

Rising tension is this:

Rising tension is a series of ‘mini climaxes’ on the way to the main climax that raises the stakes, lets you know characters better, and pushes your characters onwards to the main climax.

Each of these little climaxes should be followed by a ‘narrative rest’. (that’s the dip after each spike)

Which - - I don’t know, might sound weird? I know when I started writing I was like ?? but it’s true! The closer you get to a big narrative climax, the more important rests are! Rests are – I personally think – one of the most important components of storytelling, because they re-ground an audience, remind them of what’s at stake, before thrusting everyone back into danger.

Again, Harry Potter is a gift in this sense because this is all really clearly paced out. Think about the first instalment – Harry Potter and the Philosopher’s / Sorcerer’s Stone.

Harry and Ron save Hermione and Ron from the troll!!!

Then they become friends and enjoy school and quidditch.

Harry loses control of his broom during a quidditch game!!!!

He’s okay and then it’s Christmas and Harry gets the invisibility cloak and feels connected to his parents for perhaps the first time in his life.

Harry, Hermione and Ron go through the trapdoor to get the philosopher’s stone!!!

And - - okay, you get the point.

Each mini climax ups the stakes, but we feel those stakes upped because of the time we spend with characters during the ‘narrative rest’. For instance, while Harry and Ron saving Hermione from the troll might have sparked an interest in her, it’s the narrative rest scenes between that and her setting Snape on fire during the quidditch game that makes us invest in her as a character.

This is where things get a bit hairy with Good Girls. Good Girls does a tremendous job of giving us both great climaxes and wonderful moments of narrative rest. The issue, for me at least, is that it’s not always the best at balancing them. When I talk about escalation and pacing, this is a big part of what I mean.

Remember how I said this was the shape of a story?

Well, I think Good Girls s2 looked more like this:

We had a lot of solid movement in the first half of the season that sort of flattened out into a lower stakes, more meandering middle (which gave us 2.08 through 2.12). Which - -

Look.

The story changed gear, and it didn’t work.

Think of it this way:

2.01 – mostly character-based fallout from s1 + inciting incident of Rio handing them the gun

2.02 – almost entirely rising tension culminating with the girls bribing Boomer and Beth lying to Rio

2.03 – which thrusts us straight back into rising tension with the girls trying to kill Boomer and ‘succeeding’ via Mary Pat

2.04 – which gives us a very satisfying narrative rest as we explore Rio and Beth’s relationship outside of an overall narrative thrust – he gives her a key, she shies away from him, only to fall entirely back into him culminating in sex which itself brings about a new climax (no pun intended!) in the scene with Beth, Rio and Dean at the dealership. It’s also a strong character episode in closing certain plot threads – ending Annie and Greg’s relationship + ending Ruby lying to Stan about what they’re doing – while establishing major new threads – i.e. really colliding Turner and Mary Pat.

2.05 – and after the rest, we’re back to almost entirely satisfying rising tension! Building off of the threat of finding Boomer’s body and the new tensions that Rio and Beth’s intimacy brings.

2.06 – a mix episode! Very much building to the strong climax of Beth seizing power, but also an episode that plays around with character, has a lot of strong ‘rest’ moments i.e. the girls sorting pills and talking which gives us a lot of information as to state of minds, etc.

2.07 – again, very strong mixed episode which is focused on one single, extreme climax – Jane being missing, but building a very character-centric episode around it. Also introduces Noah though? Which is a mistake. He should have been introduced - I think, in 2.05, but that feels like a whole other post.

2.08 – narratively speaking the same as 2.07 in the sense of a single climax (the girls failing to get the money back / the Beth-Ruby confrontation), but has the added bonus of flashbacks.

2.09 – we have a slight narrative thrust with the robbery of the Quick Cash but it proves very quickly to be low stakes. This is an alllll emotional stakes episode, which means narrative tension is slowing.

2.10 – again, a character-focused, narrative rest episode devoted to Beth struggling with getting square. A few small climaxes – Annie and Ruby in Canada and Turner at the dealership being the big ones, but both quickly prove toothless. The heft / strength of the episode again is in character moments, not narrative thrust. Again - slowing it down.

2.11 – oh, what do we have here? Another character-focused, narrative rest episode? I love this episode – it’s one of my favourites of the show, but it’s intensely character focused. Very much centred in waving away the smoke around both Noah and Rio for Annie and Beth respectively. No dramatic climaxes. Slowing the story down even further.

2.12 – another narrative rest episode. A lot of slow exposition of Mary Pat and Jeff, which is good to know, but I’d argue placed badly in the season. This season’s already been slowing down despite the narrative timeline tightening, but this episode only further pushes on the brakes for Dean’s new job, Beth and Dean’s divorce, Beth and Rio’s break up. Two very small climaxes - the lawyer telling Ruby he knows about the money and the Boomer reveal but - in the context of the season - actually pretty low stakes. Again. Slowing down the narrative.

2.13 – A BIG CLIMAX EPISODE WHAT IS GOING ON???

What I’m saying in this is that the pacing in the back half of the season was, to me at least, fundamentally off. They hadn’t steered a strong enough narrative spine to take us through the season, and got heavily invested in character moments and not-entirely-thought-out-fallout in the back half of the season – it didn’t understand it’s own narrative thrust well enough to get us through. It also established a certain pacing with us in the first half of the season and shifted gears halfway through.

You can’t have your first three or six episodes be high-stakes-high-action, and then make the back end of your season same-stakes-low-action and top it all off with an explosive, poorly built-up finale in the way that they did.

There wasn’t enough thrust to push us through to the scene in Rio’s loft – neither narratively or in a character sense, and as a result, those last few episodes fall apart. Even beyond that though, the season escalated quickly then - - didn’t really know what to do with those escalations? It plateaued, which is indicative of bad pacing across the season.

I actually do think it’d be a relatively easy fix? I’d bring the Noah arc forwards and actually fiddle with the Beth and Rio break ups - get one even closer the tinale and make it more painful. Make it a climax in itself.

But anyway, haha:

The Resolution

All stories have a resolution too of course.

The resolution can be 30 seconds or 30 minutes – it’s a time to tie up loose ends and to reassure your audience that the journey they’ve been on is worthwhile.

(After all – you’ll notice the story diagram is not symmetrical – we never finish where we began).

I’m not going to talk too much about resolutions because at the end of the day – resolutions should fall fairly naturally out of your beginning, your inciting incident, your rising tension. It should tumble out like the double wedding at the end of Pride and Prejudice, but I will say that the s2 resolution was...err, not good. In no small part because it didn’t fall out of what we’d been told all season. They’d established a certain throughline and then taken it back, and that was nagl to be honest.

On the plus side though - it wasn’t a finale, so I have my fingers crossed they can fix it!

But yes, back to your ask, anon.

No, I don’t think that the writers were pandering. I think they went in with a sketched outline and that they probably got lost in the back end of the season and weren’t quite sure how to drum up the final act, which meant that final act didn’t work.

Ah, this post got so long! I hope it wasn’t boring or too self-indulgent or silly, and that you got something out of it! I am, of course, always happy to answer writing questions, and I hope you liked reading my story ramblings ;-)

#writing posts #gg season 2 #welcome to my ama

60 notes · View notes