#i am sorry for taking this long but you indulge me in my suzanne obsession so i must Write A Lot lol

[sisterdivinium]

what do you think suzanne was like in her youth? she says she doesn't see herself as modern, but what do you think that means to her?

Those are interesting questions! As they require a little more imagination than I usually apply to my posts here, I'll ponder them one by one, even if they're interconnected. This will be long, of course, because it's about 💕❤️ Suzanne ❤️💕 my beloved.

1) On Suzanne's character in youth

The first solid clue we're given about what Suzanne used to be like comes from the conversation she holds with Duretti on Crimson, of course:

As much as Mother Superion ends by radically dissociating herself from Crimson in the similarity established by the cardinal, adding that the younger nun is "possibly sociopathic", she makes no effort to refute the adjectives of "aggressive" and "undisciplined" as applied to herself. She must, then, in some level recognise these traits as her own.

When we are treated to the flashback she has with Shannon in season two, confirmation on both characteristics is clear: a determined halo-bearing Suzanne eschews "Christian compassion" in slaughtering a gang of men without pity and without any real backup plan should her charging head-first into battle yield less than desirable results. She is aggressive and undisciplined, quite evidently.

Here is a little problem, though, because discipline is indispensable to obedience — and obedience is, of course, amongst the vows taken by those who enter monastic life.

This could nudge us towards seeing a certain rebelliousness in young Suzanne. Fitting in and taking orders from someone else might have been a challenge for her, as it always is for prideful people, even when those "superiors" have their respect.

Her tempestuousness seems, to me, to have manifested in another physical manner as well. Regardless of my own tiny sin of "headcanoning" her as a lesbian, there's the other side to this competent swordswoman — not the one in the heat of battle, getting up close to her enemies in order to slash them down, but in the proximity shared with her sisters, her body language and closeness to them.

Season one shows us a detached, distant Mother Superion who almost never directly touches the other women. In season two's flashback, however, our Warrior Nun Suzanne strokes Shannon's cheek before whatever halo trick she pulls in pressing down on Shannon's chest. There's an easy familiarity there, a confidence in breaching Shannon's personal space — an intimacy as well as the conviction to assert it. Whether this type of gesture was exclusive to Shannon or dispensed on the other nuns as well matters not so much as the fact that it happened and how it contrasts with the Mother Superion we know of the first season. I'd guess that young Suzanne wasn't all that keen on repressing the ways by which her body, then still wholly able, interacted with those of her sisters. Opening up to touch as she does throughout season two, slowly as it might be, might not be a novelty as much as a "coming home" for her, regaining some of her lost confidence in her very ability to love other women — or express it, rather. It wouldn't be far-fetched to assume that the guilt she felt for being a sinner encompassed more than just the grief of killing a mother...

Liberal closeness to other nuns alongside a lack of discipline mustn't have garnered her a great many favours in her time with the Church... So I suppose her combat skills, her sharp focus, and her devotion to the cause must have spoken louder than her blatant (cardinal sin of) pride when she rose to the position of halo-bearer.

And maybe, just maybe, the fact that there was someone to vouch for her played a part in it as well.

Mary had a mentor and a protector in father Vincent and I suspect something of their relationship might be mirrored in how young Suzanne might have sought guidance in an ambitious, younger father Francesco. They "go back many years", Vincent tries to sway a reticent Mother Superion by claiming Duretti used "her history" against her... It's possible that a young Suzanne, like Mary, would have depended on a man of the cloth to secure her place within the OCS even as her very personality at times clashed with the demands of the institution. Men who, for one reason or another, could help direct these young and ferocious women's energies towards a specific goal, give them a purpose. Needless to say both Suzanne and Mary seem to stay on board for the same reason, even if as Mother Superion Suzanne might have later repressed it: their sisters.

For all of Suzanne's cockiness, she does quite obviously do it all for them.

So to sum up my vision of young Suzanne and move on: I see her as a brash, somewhat rebellious girl in need of a cause through which to channel her passions and a speciality to prove herself to others (given how she is already so sure of her own value). As far as faith goes, she appears to have deposited it mostly in herself, which would account for a greater degree of godly devotion after losing the halo in order to expiate her sins. She's in this (always has been, even despite later shame and fear and concealment) for the women, most of all.

2) On what "modernity" might mean to Suzanne

In order to assess what modernity is, it's necessary to define the term it's contrasted with as well — we need to think of what tradition could mean for her.

And this is... Difficult. "The Church" isn't an easy way out; Duretti is part of the Church, a constant in her life, a guide... Yet Suzanne's words about needing "a more modern approach to the job" are very reminiscent of something Duretti himself had said back in that same season one scene:

There's a bit of a paradox here if we try to see things through her eyes.

Her need for "modernity" arises from another exchange with this same man. But can we say Duretti truly embodies tradition when here is a religious person who has no qualms about setting sister warriors to kill a girl who accidentally has the halo? (Well, perhaps so, given how the Catholic church is stained with terrible actions...) Suzanne might not know about the torture chamber in the Vatican, but she did help save Ava in the catacombs from the OCS rejects under his orders. She is perfectly aware of how violent he can be.

Perhaps that is in itself a part of her wanting to break out; we can't ignore the fact that the above screen captures show us his line of dialogue ending while we see a take of Beatrice offering a hand to Crimson — showing her the opposite of the ruthlessness Duretti and Crimson carry.

It's also peculiar how she mentions modernity while inside a library or archive, the very home of history and tradition. Are these the "old teachings"? This unending amount of precepts all around, gathered with the passing ages?

We wouldn't do well to argue that the blood-soaked books recounting the past or the violent strategies of Duretti are necessarily what trouble her seeing as she is still a warrior currently at war; Suzanne isn't exactly a pacifist.

However, the phone call that originates the "modern" comment is a failed attempt on her part to get Duretti to act, to take a first and definite step against Adriel — to enter the fray, as young Suzanne probably would have already.

He beckons her to "have faith in God" — and perhaps that is the issue, the "old teaching" she feels insufficient and which, examining her (possible) past as in the first part of this very long answer, was never enough for her to begin with. Heeding the words of men, believing in God... And what does that amount to shortly after they hang up? She couldn't predict the future, but she saw something wrong with the method — and the intuition proved right.

I can't tell precisely what her "modernity" entails since I cannot pinpoint "tradition" either; they seem a bit intertwined. It's tempting to say Jillian fills the role of providing the "newness" through her technology, but it isn't as if Mother Superion were a luddite: she's using a smartphone and a computer just fine, if perhaps not as modernly as Camila and her TikTok. She is not an "outdated" person. We could assume that this "modern approach" has less to do with the instruments and more with perspective, with priorities, guiding principles... On a superficial level, it's about coming out from under Duretti's wing — from Church structure's shadow, from the patriarch's rule, from following someone else's lead.

And that, funnily enough, assuming this post is in any way correct in its hypothesising, would lead us right back to our rebel from youth, if hopefully with more wisdom to guide her steps this time around.

Season three would have allowed us to see Suzanne be without the anchor of Duretti (as season two could have let us see Mary away from Vincent) and maybe elucidate the matter... But, as it is, I think this is as much as I can surmise with what we've been given!