#and yet people prefer to gamble about she may be a sex monster

[queenfredegund]

I get the history loves the idea of Evil Queens and Wicked (Step)mothers, but it doesn't seem like the real Fredegund was any of that? She certainly wasn't a saint or possibly even nice in the modern sense, but compared to some of the other Merovingian reginas you have mentioned, she seemed relatively decent. Even pious Radegund stood up for her. I get see was the Other Woman and had that famous rivalry with Brunhilda, but why else was she turned into a fairy tale villain cliche?

Well, it comes from different and various origines throughout time. First of all, we should not forget that a large part of her portrait depends of a man who despise her the most, i.e. Gregorius of Tours, and it gets really hard to overpass that problem when we have... in fact nothing else. So, yes, when people read in Gregorius of Tours’ chronicle that she is a villainous woman, I guess that they are bias from the start.

Second problem, is also the fact that her royal companion and husband was not even a good king in the eyes of Gregorius. Don’t get me wrong, I really think that Gregorius hated the whole damn Earth, unless they were a part of himself and his little world, because the guy is one of the most arrogant, self-centered and pedantic person who ever existed! But Chilperich is clearly depicted as a Neron-like king under his pen, so of course the woman he gave up a royal wedding for must be treated like a demonious thing, nothing more!

An other important thing to remember also, is that Fredegund was certainly not a high-born person before acceding to the royal bed. It seems strange to point that, because a certain number of other royal women among the Merovingian dynasty were not nobility themselves, but that’s important to shape the whole problem: it’s a regular topos that low-born people may have been dubious persons when they raised themselves to the top, a fortiori when the person in question is, guess what, a woman who do politics! Fredegund may have been seen in her time, and also after, as an example of how a political situation has degraded by the fault of low-born peoples who are not “like the other good high-born people” (which Gregorius was part of), and also when gender hierarchie was not respected anymore.

And then, with all that precedents, you arrive in the 19th century, aka the period when all the historical portraits have been molded for our period. Historians by that time really loved to adress examples to emulate to their readers, and when you chose to treat a period not well like like the Merovingians’, with a woman who fight for herself and her children, with suspicious and scandalous reputation, you obviously don’t take side with her. This is what happened to Fredegund: she became the villainous, and the more Brunehilde was taken as a moral and political example (some historians mystified her in a last form of roman ruler, what she was not), the more Fredegund needed to be villyfied, because she was a good nemesis (the low-born/slave girl vs the royal princess), or she was perceived as it.

I would also finish that answer with a very interesting theory that I borrow from H. Aali « Fredegonde – Great Man of the nineteenth century » (2013), who pointed out that across the 19th century, Fredegund was absolutely not written as a female character, but rather like a man, because none of her actions was considered fitting for a woman, as she was fighting, killing, burning, so she was litteraly written as a man among other men, and a lot of her portraits from that period are actually more the description of a villainous ruler than that of a villainous wife. So, with all that around her, it just takes the modern erotica to give her the last blow: nowadays, she is only a devious slut with big breasts and a ferocious tendance to kill her rivals, male or female... That’s how you destroy a whole character for the eternity.

[neitherlandslibrary]

'The Magicians' EPs on Tonight's Finale & a 'Bigger, More F**ked-Up' Season 4

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The Quest of the Seven Keys comes to a close (we think!) tonight as The Magicians wraps up its tremendously entertaining third season.

In the April 4 finale, Quentin (Jason Ralph) and his band of not-so-merry comrades storm The Castle at the End of the World to get magic turned back on.

Ahead of the big episode, we hit up showrunners Sera Gamble and John McNamara for a preview of what exactly the group will be facing. And from the sounds of it, things are about to get monstrous.

OK, so what are we walking into in the season finale? Where are our players at that point?

Sera Gamble: Well, at a certain point in the season finale, they are on the Muntjac with nothing to eat but leftover tacos. [Laughs]

John McNamara: Yeah it sort of replicates the feelings of being in The Magicians writers' room. The writers are obsessed with tacos. [Laughs]

Gamble: We're also, sort of headed towards the... well, we're sort of walking you into the next stage for Julia's (Stella Maeve) life. Which, as you know from Episode 12, she leveled up in a really major way. So in the finale, we talk about what that means.

And then, after a whole season of watching Alice (Olivia Taylor Dudley) really struggle to try to figure out who she is and what she wants to do, and whose side she's on, and whether she's on anyone's side, she will take some very significant steps for herself that affect everyone on the show.

When it's "significant," it's usually kind of bad.

Gamble:[Laughs] Yeah, well, it affects everyone! It was so important to us not to make things easy for Alice. Just in terms of the journey of her character. We talked a lot about what happens when you have a bit of a quarter-life crisis, you know? There may come a point where you look back at everything you went to school for and all the stuff that your parents prepared you for, and just maybe you reject all of it. We talked about our experiences with that and it's personal to some of the writers on the show. It's not something where you wake up having a crisis, and then, two or three days later, you're fine.

It was actually kind of uncomfortable to watch Olivia at times, because the torment in Alice was so clear and painful.

McNamara: Just you wait. [Laughs]

Julia's leveling up... is that kind of her reward for what she was put through in the first two seasons?

Gamble: I wish life worked like that.

McNamara: Yeah, be careful of rewards, because they tend to turn into something else.

Oh no.

McNamara: Yup. Dot dot dot... to be continued.

Gamble: So much of what we do with her character and with that storyline, has to do with these long conversations we have in the writers' room about trauma. And the effects a terrible event like hers cause. We try to be careful not to [say] there is a punishment or reward for something like that. With certain storylines like that, we're kind of assuming that, in one's adult life, a certain amount of s**t happens.

And in Julia's case, some very dramatically heinous and terrible s**t has happened. What we're interested in is exploring how people continue and go on, and how the terrible things that happen to you in your life affect you. But I don't think it can really be boiled down to everything that's going on with Julia is a consequence of this one terrible, terrible event. It affects her greatly, it has a lot to do with the circumstances that she's been wrestling with, but it's part of a greater maturing process. Always with our characters—especially on a show where a lot of very dark things happen to people—it's important to us to explore the idea that adult life is much more complicated than just a reaction to any one thing that happens to you.

You have planted the idea that getting the power turned back on—turning magic back on—will also come with negative side effects.

McNamara: Yes.

Will those stakes be made even more clear as we get closer to turning it back on?

McNamara: Oh yes.

Will things reverse?

Gamble: Put it this way, we've just spent three seasons kind of making it clear that magic is a mixed bag, at best. If you're a magician, you prefer to have it in your life more than not, and that's something that was really driven home for our characters this season. Not having magic was a good way to have them miss magic and realize how much they've been taking it for granted. But magic has never been an easy or straightforward force.

McNamara: And any version of how things go for them in the finale comes with a mixed bag of consequences. That'll just always be true on the show. We will always find the good and the bad in every new plot development.

How will Margo (Summer Bishil) fare as High Queen?

Gamble: The immediate consequence of her being High King, beyond it just being f**king awesome to see her in that crown...

Right?!

Gamble: None of it means a whole hell of a lot if they can't get magic back. Everybody's campaign promises—and also just her ability to rule effectively as a magician—depends on finishing the quest and having it work out in Fillory's favor. So really, the first thing she has to do is help her friends get magic turned back on or she cannot be the kind of High King she wants to be.

With Penny 23 (Arjun Gupta) sticking around, how will this impact Kady (Jade Tailor) and Julia's friendship?

Gamble: I have a hard time imagining the women on The Magicians getting all fired up about a guy, in that sort of classic, soap opera way. Everybody has too much s**t going on and, frankly, everyone is too OK with casual, polyamorous sex to really have those kinds of hair-pulling, 'don't touch my man,' kind of stuff. That's not really the show. I think these women are kinda beyond that.

What is The Castle at the End of the World like?

McNamara: Black. Very dark.

Gamble: There may be a monster or two in there.

McNamara: Maybe. [Laughs]

You have given us the dragon stuff, are you introducing new monsters?

Gamble: Oh yeah, dragons are harmless compared to this thing. Here's a tease about the Castle at the End of the World. I'm gonna try to just do a tease here. The thing to know is that, for Quentin this season, he is a quester who has been on a quest, who understands questers on quests. He is a reader of fantasy and science-fiction and he has read Joseph Campbell's 'Hero with a Thousand Faces.' He's an expert in this stuff.

OK.

Gamble: He talks about the kind of sacrifices one makes when one is on a quest, and the notion that, when you are on a journey like this, it changes you. So the person you are at the end is different than the person who set out on the quest to begin with. In fact, the person who set out would not have been able to finish the quest, right? So all of that comes to a head in the finale, and Quentin is very well aware of it. He knows it's not gonna be fun for him necessarily. So if he wants to be a hero of the quest, then he's gonna have to solve some problems to do with finding the Castle at the End of the World, getting in there, and what they do once they're inside. And the thing that you'll see in the finale is that Quentin is very ready to step up. He feels personally responsible to get this done, and in a way, that wasn't as true before. This feels like his problem, right?

This is his hero's journey.

Gamble: When we were facing the Beast, for example, there came a point where he had this realization that the best magician should be the one to face the Beast. And that wasn't him, that was Alice. And in this case, it really is about the person who steps up to face the consequences and pay the price. The hero is simply the one who pays the price and Quentin is the one who is willing to be the hero.

There has to be a sacrifice. Can you preview who might be in peril?

McNamara: All of them! Nobody is safe. There's no...

Gamble: Nobody is gonna walk off the last frame of the season finale and onto a lounge chair in Waikiki because everything went so f**king great for them. There will be... there are victories, and there are yet greater challenges. When things end, a bigger and more f**ked-up thing begins.

McNamara: Of course!

The Magicians, season finale, Weds. April 4, 9/8c, Syfy

[zandra53g77799-blog]

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