#just everything about this episode is so fascinating i want to write an entire essay on it | Explore Tumblr posts and blogs

familyagrestefanblog · 4 years ago

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Analysis of the Family Agreste Portrait

Quarantine strikes again and since the Agreste family portrait has fascinated me for a loooong while now I decided to put my thoughts into words and write another essay x3

The amount of informations we get out if it is amazing and its not only highlighting the absolute TRAGEDY it is that this family is about to face such a horrible fall out, it also hints at the former family dynamic before everything went to hell.

So make yourself comfortable and get something to drink, because we will be here for a while.

Here we go: My analysis of this beauty of a fictional portrait

Let's start with the most obvious one: Hawkmoth.

Its commen knowledge by now that the background makes it seem like Hawkmoth is standing behind the Agreste family like a bad omen waiting for fate to take its course and cause their doom. The portrait is brilliantly designed so the illusion is created that Gabriels body (here in a blue suit closer to Hawkmoths normals dark purple one) overlaps with Hawkmoths and a darker line is connecting the two faces as well, which rest on the same height right beside each other. The very same line grows bigger as it goes further behind Emilie - coloring her entire background - showing us that EMILIE is all Gabriel sees when he becomes Hawkmoth. But notice that Adrien on the other hand can hardly be concidered part of Gabriels “sight” at all.

Its forshadowing 101 and damn beautiful if I may say so. But this isnt what I want to focus on in this post.

I want to elaborate on two other key factors that tell us about the former dynamic of the Agrestes instead and what they tell us about the present and future.

The heart:

This is hitting me on another level because look at the heart these three form with Adrien right in the middle! He was so LOVED. This family may have never been anywhere close to ideal but still, there was LOVE and now he's gonna loose it all.

Adrien already lost his mother which led to his father getting even more distant and cold and now his father is becoming increasingly more abusive as he falls deeper and deeper into villainy. Gabriel was never a good father, the show has already made this clear with episodes like "the bubbler", “the collector” or "Gigantitan" for example but gosh there was hope for their little family! The end scene in "Jackady" portrayed it perfectly and I wrote a whole other post just covering the sigificants of Adriens and Gabriels hug in that episode. Check it out here if you want, it goes hand in hand with this one.

Miraculous is all about love and the completely different ways it can affect us, our behavior and actions. Because love isnt just wonderful, pure and empowering, it also can be twisted, destructive and cause the darkst nightmares. And with this family the writers know how to portray the complex love in an abusive houshold thats destined to go up in flames and they also know how to hint at their troubled past with the family portrait.

But this heart visual tells us even more in connection with the positions of their hands. And with these two key factors, lets start with Gabriel:

His hands convey it so strongly. He loves/d Emilie and Adrien so much and no doubt this love for them was certainly the reason why he started his quest as Hawkmoth. But he is now losing himself more and more in the pleasure of his villainy to the point where he forgets why he's doing it in the first place and becomes a complete monster (of a father). But this turn and spiraling into villainy didn't came out of nowhere - this root already had to be in him to grow like that. And this is also something the portrait indeed hints at as well.

Because Gabriel is the only one of the three who:

1. We see so completely open and without hesitation reach out and hold BOTH his family members.

2. Is visually “cut off” from them as well.

But this doesn't mean he was excluded and the only one who truly cared and loved, it just shows that things were more... complicated...as usual.

This is best explained with Adriens hand placements:

One hand is holding his mothers but the other one is visibly not reaching out for his father. But as we all know, that's not because Adrien doesn't love him. In season 1-3 it is made more than clear that Adrien does not hate his father - he loves him alot and tries to be there for him and be patient because he knows that the loss of his mother brought his father terribly down.

Sure, Adrien gets frustrated and angry with him, literally how could he not?? But Adrien tries his best to reach out to Gabriel so they can bond and come out of this tragedy stronger.

But this loving willingness to forgive his father for the chance of growing a father-son bond with him doesn't change the fact that these two didn't had a bond prior to this. And let's be honest here, does anybody actually think this distance between them was caused by Adrien? I don't think so.

So notice how Adriens hand - not reaching out for his fathers - is the only one in the portrait NOT inside or forming the heart.

When the connection of the hands between the family members symbolise their connection to another, then Adrien keeping the hand for his father away from the display of love is VERY telling. It tells us very directly what this distance did to Adriens side of the relationship. Despite Gabriels hand being right there, Adrien does not meet the gesture. And I cannot believe that he did it out of resentment, nothing in the show indicated such strong negative emotions from past Adrien.

It's much more likely that Adrien not reaching for his fathers hand is meant to show us that Adrien felt that he either CAN'T return the gesture because he fears that it'll end in an unpleasant reaction from Gabriel - that it isn't Adriens "place" to reach out to his busy and distant father like that, like it's demanding something - or Adrien simply didn't took Gabriel laying his hand on his shoulder, in the context of posing for a portrait, as a gesture of love and affection.

The way I interpret the portrait is that prior to Emilies dissappearence Adrien did not exactly try to reach out to his father the same way he did from s1-s3, which, I mean, of course wasn't the case. Not only is it NOT the 13 years olds (or younger) job to form an emotional connection to their absent parent - when that’s the PARENTS job - it also wouldn't be necessarily "needed" for Adrien to do so.

Because Emilie at this point was still in the picture so and she was the complete opposite. She was a (or maybe the ONLY) safe, reliable and loving constant of parental attention, affection and care in his life and because of these two HARSH contrasts Adrien learned from very early on to focus mostly completely on her in that regard while kinda blocking his father out.

That most likely wasn't even an active choice whatsoever - Gabriel proofed to be an unreliable resource so Adrien learned to subconciously treat him that way out of self protection. That doesn't mean he had any kind of dislike or malice against his father it just means that he wasn't able or allowed to connect with Gabriel the way he needed. Several episodes show that Gabriel deadass only parented like 15 minutes tops in his life with one of the worst offenders kinda being “Gigantitan” ngl.

So yeah, when I see that the portrait wants to tell me that prior to Emilies loss, Adrien - a 12-13 year old at most - is THIS used to rely solely on the strong bond he has with his mother and not even really reaching out for his fathers love, then I can't help but interpret it in the way that... Well... Gabriel was so distant and emotionally unreliable to Adrien for all his life, that Gabriel simply... wasn't needed by his son. Not at that point of time at least.

And while this may seem weird, because obviously Adrien only now starts to stop craving for his fathers affection and approval (which is btw a horrible, HORRIBLE thing and not something good. A half orphan losing the last remaining hope he had left of having the chance to finally get to form a bond with the only other parent he has left, just to be crushed by disappointment and abandonment all over again until he let's go, is REALLY NOT as much of a good thing people will make it out to be. This is... plain awful) it's actually quite logical.

Adriens hand outside the heart doesn't mean that his father meant nothing to him and therefore refuses to meet and accept his affection (that's literally the complete opposite of what the show shows us), it means that Adriens and Gabriels father-son relationship suffers from a fatal emotional disconnection caused by miscommunication/ a lack of communication.

And this was caused by Gabriel. How? Let me elaborate on that by going a bit far afield (cuz lbh we all have time for this. I’m writing this in quarantine and youre reading this is quarantine, so lets gooooooooooooo).

In "The bubbler" Adrien says that his father "always forgot his birthday", but I cannot agree with this in true honesty. Gabriel is controlling his sons entire life, calls him "the epitome of perfection" and temporarily truly gave up being Hawkmoth for him, he definitely never forgot Adriens birthday.

"The bubbler" even SHOWS us that Adriens perspective of the situation is actually not the truth:

This is Adriens first birthday after Emilies dissappearence and it's incredibly telling how Gabriel handles the planning.

What this entire little sequence tells me is that Gabriel is completely and UTTERLY used to NOT be the one to take care of anything related to Adriens birthday. So Emilie was always the one who did it but somehow - now without her - Gabriel apparently still hasn't even considered changing anything about that nasty non-involvement and just expected Natalie to pick everything up where Emilie left it.

Because let's be real here, knowing Natalie she would NOT have forgotten to get a present if Gabriel truly had told her to. Natalie is never presented to do mistakes like that but Gabriel on the other hand IS definitely presented to us claiming things about himself as ultimate, blameless and true when they simply do not reflect reality. A great example: Gorizilla

You didn’t even speared a minutes of your time for Adrien and he DID try to! Asshat… It's a problem guys. The lack of self awareness Gabriel displays in moments like this is legitimately concerning when you think about how deeply this man is falling right now.

But back to the topic:

Because even if Gabriel didn't even consider doing anything himself for Adriens birthday - not even taking the time to SEE his son (who just recently lost his mother, come on Gabe, really?) - one thing one cannot hold against him: he sure as hell remembered Adriens birthday like any decent parent would and it wasnt portrayed as a this-year-for-the-first-time thing.

And yet Adriens statement still makes complete sense. Because a big, BIG problem with Gabriel is just how much he takes things for granted. He EXPECTS things to be universally known and to never be doubted, just because that's how HE sees them. I will write 10 essays if it's needed to make people understand that Gabriel DOES truly love Adrien, it's just that Gabriel HIMSELF is such a rotten, twisted and toxic person that he cannot see how much his (oppressing) behavior and the way he (doesn't) express his love hurts Adrien and that HE is the one at fault. (for more, once again, read this)

Gabriel LOVES Adrien but he takes the love he feels as such a matter-of-fact that he just completely... forgets to show it.

And when we take Adriens words and look at the Family portrait it unfortunately seems that...

…. Gabriel ALWAYS forgot to show it.

Adriens hand - that should at least be reaching out to his father - is outside of the heart in accepting certainty. Because that's what Gabriels non-presence was for Adrien while growing up: an unreliable and unreachable certainty he had to accept early on as safer to not try to emotionally depend on too much or else he will get hurt.

So yeah, Adrien is the one in the portrait who is very openly not reaching out but only because Gabriel never gave him the needed affection and stability to be able to create that bond.

But let me correct what I said a little earlier: Adrien ALWAYS needed his father. Every kid, especially one in a bad situation like Adrien, does need their parents/friends etc as support system to become independent and confident in a healthy way. And if they don’t have that they WILL crave and look for it!

What Adrien has been doing up to now IS normal for a teenager - humans NEED affection, belonging and safety. What ISNT/SHOULDN’T be normal is Adriens disconnection towards his father in the portrait and just how much Gabriel fails to take care and BE THERE for his son in BOTH TIMES!

Collector:

Bother Christmas:

One thing I like about the show is that it portrays their young main cast with one very important truth: The psyche of a child/teenager of their age will react and adapt so it SURVIVES, even if it results in unfortunate consequences in other relationships and places. Thats the psyches main concern and it'll try to cope with the limited experience and development it has in whatever way necessary to get itself to the next day. A coping mechanism is not there to make you a better person, it ensures your SURVIVAL, everything else is a secondary concern.

So seeing pre-show Adrien not react to Gabriels touch and even feel completely unloved and disconnected from him is no surprise to me. Kids are incredibly observant. They may lack the needed experience and knowledge to truly understand that they deserve better and to stand up for themselves but they are masters in picking up red flags in people and can put this danger into perspective while comparing the different danger levels of their options of people and places to adjust their behavior.

Feast:

Stormy Weather 2:

So the broken connection between father and son we see in the portrait (that Gabriel doesn't even notice but Adrien fully internalized) isn’t there because Adrien “didnt needed” or wanted his father, its because Adrien NEEDED Gabriel so much in his isolated upbringing but Gabriel didn’t LET him need him - so Adrien had to adjust to that accordingly. Big, huge, ENORMOUS difference.

Honestly the most miraculous thing about Miraculous is that Adrien was able to bring up the strength to stay positive and friendly and to forgive Gabriel in hope for a better future. That boys situation is 7 kinds of depressing and traumatizing...

It's just flabbergasting to me how well this portrait shows how basically non-existent their relationship was at that point. And it's horrible to know that this estranged and unformed bond is all Adrien had left after Emilie dissappeared, just alot worse because after Emilie incident Adrien states that his father changed alot for the worse as well.

So to think that all Adrien had left wasn't even this former basically non-existent relationship with his aloof father - who would only barely show his true affection for his son because he's either not around enough to do so or he thinks it "unnecessary to proof his affection" for/to Adrien because he already thinks it so obvious and undoubtable.

Well he thought wrong. And GOSH, it breaks my heart!

So now comparing the "Gabriel" hand from Adrien with the one representing his connections with his mother conveys a pretty harsh contrast.

Because last but not least, let's take a look at Emilies hand placements:

But here is now an interesting difference to Adrien. Whereas we openly see that Adriens side of the Adrien-Gabriel relationship is completely disconnected from the heart/love - showcasing just how badly Adrien has always been neglected by his father - we don't see Emilies hand in her Emilie-Gabriel relationship AT ALL.

Once again just like with Adrien, this doesn't mean she didn't love her husband and that Gabriel was used and fooled by the woman he so utterly adored. It just means that from Emilies point of view things were a bit more complicated. What exactly this is, the portrait is keeping secret from us. We have no way of knowing if and how Emilie is returning her husbands gesture. All we can say is that if she does she is definitely not doing it in such an open and unconflicted way as she does with Adrien.

But since when has anything with this family been this easy?

One thing the portrait makes very clear, Adrien and Emilie had a strong and good bond. Definitely the healthiest because the Adrien-Emilie connection is the only one depicted without any kind of disruption from both sides. Both mother and son are reaching out for the other ones hand creating a whole half of the heart, showcasing their affection for another openly and without any of the implied doubts the other connections display. And honestly? Comparing all the hand placements, the one connecting Adrien and Emilie just comes across as strikingly pure and true (which makes it even worse that it was HER Adrien lost…)

As I said it's a HARSH contrast to the one Adrien shears with Gabriel. This contrast is highlighted even further by the way these three face on another.

Emilie and Adrien are positioned facing another and so are Emilie and Gabriel. Telling us that Emilie was "face-to-face" aka involved with both her husband and son. It is Adrien and Gabriel were this looks wildly different. These two have no way of seeing each other in the eyes the way they stand now/then, further displaying their deeply rooted disconnection. It's portrays perfectly how important Emilie was in this family dynamic, because even though Adrien and Gabriel bearly had a connection at all they at least had Emilie as a link between them, keeping the family together. But then they lost her and where this left both father and son off we know oh too well...

So to collect all the informations we get out if this portrait:

-Adriens and Emilies relationship was the strongest and purest. Both of their hands connect and reach out for another in the heart, showcasing that they had a loving and positive bond.

-Adriens and Gabriels relationship is heavily scarred by a deeply rooted disconnection leaving Adrien feeling unloved and unwanted by his father to the point where Adriens side of their dynamic is outside the heart altogether. Gabriel may love and adore his son just like he loves his wife and never thought he displayed his love for him in a lacking way, but fact is: this love never reached Adrien the way it should have and Adrien is the one in their dynamic who got severely hurt and damaged by it.

-Gabriel was the only one completely unconflicted and happily at peace with the former Family situation. He's reaching out to both his family members with open love and affection in blissful oblivion that neither his wife nor son could return them the same way (to different degrees for different reasons). Gabriel was the ONLY ONE in the Agreste family who didn't saw problems in their lives and thought them all happy, hence why he's so obsessed with changing the past and bringing THIS state of their family back. He was happy and he had everything he needed and loved right with him, of course he wants THIS back. He's not aware that Emilie and ESPECIALLY Adrien did not feel the same about their former situation and that bringing all of them back to this is not the perfect happy ending for their entire family as he thinks.

-Emilie may not have been as unconflicted with Gabriel as he was with her but she is NOT feeling the same disconnection her son feels and isn't depicted with negative feelings towards Gabriel. Her side in the Emilie-Gabriel relationship is neither shown outright positive as with her son or outright bad as Adrien with Gabriel. Her side of their bond is depicted through her unseen hand placement in the unknown area in between.

-Despite their not so unconflicted feelings towards Gabriel - and Gabriel himself being aloof - neither Emilie nor Adrien are actively trying to cut Gabriel out. They aren't flinching away from his touch or exclude him from the heart whatsoever. He's happily included, obviously feeling loved. They may not be 100% happy and Gabriel doesn't notice it, but they aren't denying him his happiness and make him unhappy. Again, he's the only one truly happy here. Something neither Emilie nor Adrien tried to take away from him.

-Emilie and Adrien are facing each other as do Emilie and Gabriel, implying the presence of communication and a bond. Adrien and Gabriel do not face each other, showing their disconnected bond. If they could see each others face Adrien would have been able to see that Gabriels hand is a gesture of genuine affection and Gabriel could see that Adriens expression does not exactly display pure happiness the way he thinks. This also goes for Emilie. Emilie just like her husband is placed BEHIND her son, so even if she is facing him she would not be able to really see just how much Adrien is not satisfied and truly happy with his life at that point (meaning how unhappy being looked up, friendless and at distance with his father actually makes him).

- This fascinating family makes me sad and I like it lol

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life-rewritten · 4 years ago

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TRUE BEAUTY; TRUE TRAUMAS AND UNSETTLING REGRESSIONS

The anger, the anguish, and upset I feel from the last moments of episode 10 are unspeakable. I can not believe how flawed and disgusting some of the parents are in this show. And I'm not particularly eager to write when I'm emotional and entirely overtaken by anger and sadness, but I also wanted to address immediately because this essay isn't about the love triangle. I couldn't give a hoot about the love triangle; I don't care what side people are on, because I think it's ridiculous that, that's what people came out of this week's episodes and focusing on. Like really, we're still doing this Suho vs Seojun nonsense, like make it make sense? Like no one is perfect, no one is a monster, all of them are just characters and yes Suho is problematic, Seojun also is, Jukyung this week was even more so, everybody likes to focus on their bias and forget that it's not that deep, it's okay to call out Suho on his mistakes but to sit there and fangirl about Seojun as the best hero boyfriend or whatever, when this episode had so much more depth to it, that's ridiculous. Anyway everyone is free to have their own opinions, but I can't believe that this tag is still full of Suho hate, absolutely absurd. Back to the actual focus of this essay, what can I say True Beauty has always been about PTSD, trauma and the pain and suffering of our main characters, how that has shaped them, changed their mindsets on themselves, hindered them from growth, love and happiness. In Episode 9 and 10 all our characters with masks apart from Seojun who just kept growing regressed and fell apart because of past reminders of their traumas. Let me explain more as we get into it.

First of all, one of the most critical vital themes of this episode is about Secrets, especially how secrets can cause disconcert, miscommunication and chaos. All of the characters hold some kind of secret from their respective partners, family, friends, etc., and in hiding these secrets, they lose their positive attributes because of how stressed they are by the secrets, how ashamed they feel from the secrets and how afraid they are about what the reveal of the secrets would cause. Most importantly, we see Suho, Soojin and Ju Kyung spiral into regression because of the consequences of their masks and secrets.

Ju Kyung: A flashback to the past

Truthfully I was very peeved of by Ju Kyung these two episodes, but I mean it's evident that this was going to happen as mentioned before, Ju Kyung has severe PTSD from her past with bullying and suffering because the world made her feel inadequate and worthless because of what she lacks. Although Kyung ends up with someone who completely sees her for who she is, is supportive and by her side completely, Kyung can't help but question this blessing as a curse. This is what self hate, and self-deprecation does, immediately she receives something good for her, Kyung starts to withdraw in fear because some part of her can't believe she deserves to be happy and satisfied with Suho. Now, as I said, I was annoyed, but also I saw her reasons loud and clear and I understood them because I related to them as well. Let's first look at the situation that occurs to cause her to spiral.

Her secret is that she's dating Suho. Pause. Now at first she's hesistant because of the fear of bullying and being noticed and being pushed into the spotlight because of his reputation. However, because of him being him, taking care of her, making her feel brave and loving herself (he does so much to show her she's okay being her self), she decides she doesn't care if the secret is out. Unfortunately for Kyung, another secret is revealed; Soojin her new best friend someone, who she's so close to has feelings for Suho. In fact, she also has really fascinating and important reasons for why she believes Suho should be hers. Now, this is what truly causes Kyung's trauma to appear again, and she becomes a mess of emotions because she has spiralled back into self-hate and self-deprecation. Let me explain.

Losses and Fears

In order to understand why Kyung's trauma is actually more profound than it seems because it does feel quite dramatic and unimportant with the reveal of other people's secrets and situations, her crying about Suho not understanding her and why she's struggling seems really overdramatic and not needed. But let me take you back to episode 1, Kyung has been in this situation before, and this situation led her to want to take her life. Let's review

In episode 1, Kyung was confident and happy in her self; she had a crush on a guy who made her smile, comfortable, and one of the people who paid attention to her and cared for her. Now this guy she had feelings for, as she confessed; she discovered he had feelings for another person, someone more prettier, popular and matched for him as people put it. This led to her confession with this guy bringing out the worst side of him; it led to her also losing her best friend who she relied on because she went to the popular girl out of fear, it led to her being taunted and broken by people making her feel like how dare she even think she could confess. You have to realise what they're saying to her, one she's not worth having a guy pay attention to her because of her looks, two she shouldn't try even to get someone's attention because the right person will find that person and they'll realise their mistake in associating with her, three, friendship and people are fickle, and she'll always be alone if she tries to do what she wants.

So back to our situation, Kyung has finally found a safe space. The beginning of episode 9 she reveals one of her secrets (part of her growth) to Soojin who completely protects and stays by her side. Soojin becomes the best friend she could ever have, she relies on her and is happy because of her. So she's regained a new best friend, but also she's found, love. A guy has thoroughly chosen to be with her despite her looks and whatnot (she thinks), this guy is a complete package, he's a prince, he's too good to be true, he protects, he's warm, and he makes her feel safe. (Just like the other guy did), lastly, she's also now found a place with her peers, she's no longer looked down on, and everyone likes her. There's a lot in her mind at stake if she chooses to reveal to Soojin the truth. It just makes her vulnerable, and it makes her more likely to lose everything, she finally regained by wearing her mask. It makes her return to that mindset in episode 1, where she felt she was worthless, and useless, a burden, and she should take her life. So her trauma is ingrained in her and causes her to spiral into self-doubt, fear, and hate just because she's gone through this before.

Lies and Masks

Now the past situation made her feel one thing; people are fickle. No matter how much Suho is here for her and says he wants her, his love is fickle. It can change, he just needs to find the right person, the smarter person, the prettier person, the more affluent person who matches him. Soojin is that. But even more from what Soojin is saying to her, Suho is just exactly like how he is with Kyung. He's protective, he's apparently warm, and he goes out of his way to make Soojin feel safe when he doesn't do that for anyone. In her head, he just hasn't realised he wants her the same way he wants Kyung cause she makes him care. And we all know what happened when someone else found another opportunity where the girl of his dreams wanted him, the cruel words he said, the way he pushed her away, Kyung feels like Suho has every right to do the same because she feels like she's not in his league. Because people; her mum, her bullies, her ex-friends, even strangers have made her feel like she's not meant to be perfect for him because she's dumb, ugly and has nothing to offer apart from makeup. And that's just painful and heartbreaking. What is she to do in this situation, losing Soojin is already painful because that's someone who she also holds in high regards in her life, someone who she depends on as a friend.

But it's not just that. As I said, she believes people's love and care for her is fickle. Actually, Soojin is proving her right without her knowing, Soojin isn't being a good friend. She's going behind the scenes to manipulate Kyung, making her feel listless knowing she's dating Suho. But the issue is Soojin also knows her without her mask, her deepest fears, her deepest secret, she has a weapon if Kyung tells her she's dating Suho. If Soojin switches, Kyung reverts back to her episode 1 self where the whole school sides with the popular girl, and she reveals the truth about how she looks without makeup. She loses not just her best friend but also her new safe space and she regresses back into the girl on the rooftop broken and exhausted of being alive.

Real vs Fake

And that's the painful thing because the reason why Kyung believes people are on her side is because of her mask of makeup and beauty, Suho thinks he likes her because she is pretty with her makeup at least, Soojin became her friend because she felt she was different and prettier, and people in the school rate her high because she's pretty. It's all about how much her mask has helped her be reborn as she said to Selena. But because she knows her mask isn't real, these people's feelings, and loyalty, friendship also isn't real, she has to keep up this facade to keep it accurate, and to stay in this lie she's created as long as she's safe, happy and able to walk around freely being her self. Something people refused her to do before because she had no right to be satisfied being ugly and dumb. So you see it's actually genuinely traumatic and painful what she's dealing with.

However, the painful thing about the fickleness of feelings is that Kyung has Suho and Suho has been in love with her and has been consistent with his care for her from the time he knew her without her mask. Since they were kids. Suho spent the whole episodes being grateful that he had her as his girlfriend, wanting to show her to the world, wanting to be with her, and Kyung's need to keep secrets was pushing his feelings, and his fears and his worries aside because she was more focused on prevention and protection. Now Suho doesn't care for other people or see other people the way he sees Kyung, for him Soojin is barging into his life without needing to be there, he told her this, but he doesn't see it as a big issue to tell Kyung she's there because she's not important. But Seojun is important, Seojun has already told him how he feels for Kyung, and Kyung seems pretty reliant and close to Seojun who keeps crossing the line sometimes (like coming to her house and staying when her boyfriend is there, competing and what not) this is what causes him to get agitated and tell her the way he knows how.

He's had no parental care, no training, no nurturing to know what's wrong and right, he's been forced to deal with his issues on his own, and he isolated himself from people, we can see he struggles with relationships, and he's trying to navigate it. So it's not okay for him to act possessive and controlling over who she should be with, but it also makes sense with his character when he doesn't know how to show emotions appropriately, and he's jealous and worried because she's being happy and close with Seojun in one corner and avoiding his calls and him in the other. It doesn't make sense. This is what I was peeved off at her for. Both Kyung and Suho are in the wrong in this situation, not just Suho.

Speaking of Suho, let's talk about this episode, his secrets as Leo and the reveal of how Seoyeon got set up.

Suho; A memory of regrets

Now the frustrating thing about this situation is; I can't fathom humans that do this, I can't understand how cold and heartless someone can be that he drives someone to take their life, and he still acts nonchalant and cold about that person because he doesn't care about rookies. Suho's father is incredibly disgusting as a human, and I completely can't stand him. The reveal that Seoyeon's demise was because he wanted to cover up a dating scandal, his son's best friend, who his son is literally suffering PTSD because he believed he was the reason his friend jumped. It's so disgusting when you think about it. This episode does an excellent job in showing us how much Suho has struggled with emotions and life because of his father's reputation, personality, and upbringing. And that's why I don't understand how people can come into this episode and come out with hate for Suho. Make it make sense.

The first thing episode 9 shows about Suho, which was actually foreshadowing the final conflict in episode 10 is his lack of a fatherly figure despite the fact he had a father. We see him interact with his father when he goes to have dinner with Soojin's own disgusting family, and we realise this is all his father does for him. He makes little quips about why he and Suho can't spend time together, and we all know Suho holds resentment at his father for cheating and sleeping with women, but also the trauma he had from dealing with paparazzi because of his father's fame, and the fact his father was barely in his life to show him emotional support and care. This is even worse when you realise again why Seoyeon got set up because his father wanted to protect his reputation, to sleep with someone, and because he didn't care about people's emotions and wellbeing.

Warmth and Comfort

Now the only thing that helped him deal with his father at first was Seoyeon and Seojun; it's making me cry again. The thing that got him through his tough upbringing was his friends, they brought purpose through music (another secret he's Leo), they brought happiness and care through friendship, and they brought comfort through their presence. They were loyal, close, and ready to help each other no matter what. His father took that away from him. Not just took that away from him but broke his mindset about how he views himself, damaged his relationship and trust with people, and pulled him into a spiral of self hate and self deprecation and regrets because he set Seoyeon up. How messed up can someone be? It's even worse because he knows he's the reason why Suho lost his friend, and he still had the guts, the confidence, the heart to plagiarise the person he ruined's song. Even not knowing that his son is the one he's plagiarising from. His father took it all from him. He made Suho think he's a burden, his reputation is a curse, and he's doomed to be alone to protect people away from him. It's funny because this is how Kyung also feels in her own regression. Both Suho and Kyung believe that they shouldn't be worth interacting with people because they're burdens and problematic for just being born. For Suho it's being born into his family, for Kyung it's being born with her looks and brains. It's incredibly heartbreaking and frustrating.

That's why it's even more painful because episode 9, Suho gets to stay in a lie for a while with Kyung's father staying with him, showing him the warmth, care and support he didn't have with his father. That's why we got that scene; it was to make you compare how different Suho's father is to him, compared to a flawed father like Kyung who's a headache but is also a good source of comfort and love. Suho finally got to feel that care that he was lacking. But still, Suho's father's coldness and heartlessness also shadow to let us know why Suho is the way he is when he has a go at Kyung and tells her to stop hanging out with Seojun; when he is posessive and protective over her without listening to what she's saying. He hasn't had a significant role model/ influence to look up to. He also became like his father on the surface and withdrawn from emotions because he doesn't receive that. It's honestly upsetting. I am so angry at Suho's father.

Regrets and Resent

But let's talk about the regression. Suho finding out his father is the one who caused Seoyeon's demise. First of all, just think about how much Suho has suffered the past ten episodes because of this issue, he's had PTSD, actual PTSD, panic attacks, depression, anxiety, isolation, just because of this issue, because Seojun told him repeatedly he was the reason for why Seoyeon jumped. Because his reputation could not save Seoyeon, because he didn't answer the phone because of his callousness and also because he fought with the very reason for why this happened; his father.

Seojun made Suho feel like he was a monster, and he was never going to be any different because his father was his father. And the thing is, this has been going for a long time, Seojun kept showing up in Suho's life ensuring he never got to be happy (at the beginning not now), he never got to feel worthy of peace, love, friendship because of what he did to Seoyeon. In a way, if you actually think about Seojun's role in Suho's life for a while, he's been like the bullys who ensured Kyung didn't feel happy being her self the way she was because of how she looked. Now he's not as bad because he's not doing it purposely with that intention of psychological harm and breakdown, because he also doesn't think Suho feels any guilt or issue with Seoyeon's demise. But it's pretty messed up that the person everyone is hailing to be this perfect specimen was literally playing the same roles as the bullies you claim to hate in Suho's life.

Like I keep repeating all these characters are flawed, have made mistakes because they're human, but the hate and the bias towards some of them is insane and makes no sense to me.

But now Suho has entirely as Kyung went back to a flash to the past, he's spiralled again into self hate, self deprecation and trauma because he found out the truth. If he's already been struggling with not answering the phone to help Seoyeon; imagine how much of a monster he'll feel because it's his dad who set Seoyeon up to fail. Imagine the pain and suffering, the self-hate, the same things Seojun kept telling him will keep repeating in his head, his reputation hurts people, his dad hurts people, and his lifestyle hurts people. He shouldn't be loved, have friends, or have people around him because he doesn't deserve that when they can end up like Seoyeon. All of his bottled down secret; self-hate is now released because the reason is connected to him from the start, it was his father. So Kyung and Suho found themselves with their masks unveiled, broken and scared and terrified about the consequences of choosing to be happy and free. Now, both of them hold this burden and weight making them feel like they don't deserve to want to be happy, in love and confident in what they deserve because of what society has done to them. And that's insane.

Soojin- A journey of a villain

Before I stop, we also need to speak about Soojin and her regression. Her regression is very fascinating and upsetting. I have been on edge about her character, and it was excruciating to see her become manipulative, sly and a full second lead this episode. But what can I say. It was going to happen. Soojin's secrets revealed this episode to Kyung is about the abuse she suffers, we also see a snippet again of her fathers sexist, heartless mindset about controlling her to ensure she makes the grades. We also see her regress back to hand washing and self-harm because of the news that Suho is dating Kyung. Now, her mindset in the last episodes have been noticing the warmth, and comfort Suho brings into her life. There's no one else who sees her, knows her, and can protect her without her mask. Suho has known her for ten years. They've been each other's support system to deal with their family, now for Suho, he cut the importance of her presence in his life because he pushed everyone away after, but for her, Suho has been a consistent person to rely on.

A safe space

Kyung showing up and making Suho open and caring made her feel fear and anxiety that the only source of happiness and warmth was being taken away from her. Suho is the only thing that makes her breath, everything else is a mask that makes her feel suffocated, even her friendships; she's not been her real self with them, she's been a perfectionist. Even her revealing her truth to Kyung this episode wasn't for friendship but for emotional manipulation, and it wasn't right. Like Kyung, Soojin regresses because she's afraid to go back to who she has to be without Suho's presence, which is protection, warmth and care compared to her actual home, cold, harsh and volatile. She had to latch onto something to stay sane and to stop breaking down. Suho, unfortunately, is what she latched onto. And it is a regression on her part because Kyung is her best friend, she's emotionally manipulating and hurting her best friend to make her self feel good and get what she wants.

Still, she's not even getting what she wants because Suho isn't going to pay attention to her apart from protecting her from her father as someone should do. Soojin has been a girls girl, supportive, protective, and kind to everyone she meets but now she's regressed to being petty, conniving and mean to her own friends because she can't lose her own safe space. Kyung regressed not to lose her safe space and for Soojin her safe space became Suho. Her regression is really unsettling because how far would she go to keep her safe space, and how far will she sacrifice Kyung's wellbeing and emotions for her own gain. She's dangerous because she knows Kyung's secret, she can unload the truth about Kyung pettily and get some kind of one up on her, which is sad because she's slowly regressing into those bullies that made Kyung's life hell.

Volatile Mindsets

In fact, she shadows like I said the popular girl in episode 1, she wants to get her way, and she feels slighted by Kyung taking it away from her. Also her self esteem, her ego is being bruised because she's meant to be the one for Suho as society keeps telling her, she's the prettiest, the smartest, his equal, why would he choose Kyung who is so far not that close to her level in any way. These are the kind of thoughts that happens when trauma makes you regress. Whilst Suho and Kyung are regressing into self-hate, and self deprecation Soojins regression is the opposite direction, it's regressing into self privilege and self-obsession, it's unfortunate.

There's so much more about this episode that we can discuss like I said everyone has a secret, but when it comes to these three, their secrets and unfortunate reveals causes them to spiral into a whirl of self-hate and pain, trauma and suffering. This has been building up for a while because their mindsets have been shaped and made this way because of all the hurts and attacks by society to them, not just society that affects them this way; with these three family affects them this way, Kyung's mum, Suho's dad, and Soojin's dad their nonchalant, and cold attitudes towards their children cause them to feel unstable and worthless, and also friends also causes them to spiral this way, For Kyung, Soojin has brought back a lot of fear and anxiety about where her life is going, and Seojun's past problematic actions have returned along with Suho's guilt to make him also spiral into self-hate and regret. Kyung, Soojin's best friend, has caused her to lose her safe space. These characters have been pushed into this by people they thought they could rely on, and that's what painful.

Anyway, if anyone wants to know my opinions on this love triangle, I appreciate Seojun he's a great second lead. Still, he's not the one for Kyung or the right person as people keep trying to say, he and Suho are still equal on terms with who she should be with. The person she cares about is Suho; the person she loves/wants is Suho. She's not thought of Seojun in that way so respect it. There is so much more going on in this show than this love triangle, so much more to discuss and fight for, each character is human and makes their mistakes, but they're all so understandable and relatable, and the pain they suffer is just insane, the psychological trauma they all hold is too much to bare, and I really hope they find their way out of this. Because right now, Suho is not going to be okay, and Kyung is in danger of her past finding her. I'm scared for them so much. This stuff may seem overdramatic and chaotic but with trauma and pain, and self-hate and psychological distress, it's not easy to overcome emotional abuse, trauma and mindsets that make you feel you're not meant to be alive, and all these characters are going through that. And it's so painful. Let's hope we find a way out of this: love triangle or no love triangle.

#true beauty #true beauty kdrama #kdrama #lee suho #im jukyung #han seojun #cha eunwoo #moon ga young #cwg #january

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beatriceeagle · 5 years ago

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I'm more of a fantasy than sci-fi person, but consider my interest piqued. Why should I watch farscape?

Okay, the thing is, every Farscape fan’s pitch on Why You, Yes You, Should Watch Farscape ends up sounding very similar, and that’s because Farscape is a black hole that sucks you in and does things to your brain, and after you’ve watched it you are never, ever the same, which incidentally is basically the plot of Farscape.

I would summarize the basic plot for you, but that’s work, and luckily, the show’s credits sequence includes a handy summary that I will provide instead of doing that work: “My name is John Crichton, an astronaut. A radiation wave hit, and I got shot through a wormhole. Now I’m lost in some distant part of the universe on a ship, a living ship, full of strange alien life forms. Help me. Listen, please. Is there anybody out there who can hear me? I’m being hunted by an insane military commander. Doing everything I can. I’m just looking for a way home.“

So let me break down that monologue into its component reasons you should watch Farscape.

1) Some of the strange alien life forms are Muppets.

Farscape a co-production with the Jim Henson Company, and while there are many aliens played by humans in make-up, there are also a considerable number (including two of the regular crew) who are Muppets. By which I do not mean Kermit. I mean really gorgeous, elaborate works of art.

Also, even a lot of the humans-in-makeup aliens just look cool, and incredibly weird. Here’s an alien who appears in a single episode of season 1:

Not that there aren’t, you know, occasional Star Trek-style “these guys are just humans with weird hair,” or whatever, but in general, the aliens on Farscape look really alien. And that’s more than an aesthetic choice; it’s Farscape’s driving narrative principle. The aliens look alien, they act alien, they have alien values.

You know how a lot of sci-fi shows will have a stand-in for “fuck,” like Battlestar Galactica has “frak”? Well, Farscape has “frell.” And also “dren.” And yotz, hezmana, mivonks, loomas, tralk, snurch, eema, drannit, dench, biznak, arn, drad, fahrbot, narl. Some of those are swear words, but some of them are just words, never explicitly translated, that the alien characters will pepper into their speech, because, well, why should translator microbes be able to completely translate all the nuances of an alien culture? You’ll pick it up from context. One time, in passing, a character mentions that he’s familiar with the concept of suicide, but there’s no word for it in his language. I cannot emphasize to you enough how fleeting this moment is; the episode is not about suicide, we’re not having a great exchange of cultural ideas—at the time, the characters are running down a corridor in a crisis, as they are about 70 percent of the time—it’s just that the subject got brought up, and this character needed to talk around the fact that he literally didn’t have a word, in that moment. Things like that happen all the time, on Farscape.

Because more than anything else, Farscape is a show about culture shock. John Crichton is this straight, white Southern guy, at the top of his game—he’s an astronaut! he’s incredibly high status!—and then he ends up on the other side of the galaxy, where none of his cultural markers of privilege hold any meaning, where he doesn’t know the rules, where he literally can’t even open the doors. And he has to unlearn the idea that humanity is central, that he is the norm.

2) John Crichton, an astronaut, is pretty great.

A show that’s about a straight white guy with high status having to learn that he’s not the center of the universe could easily be centered around a really insufferable person, but one of the subtle things that makes Farscape so wonderful is that Crichton is, for the most part, pretty excellent. He has a lot of presumptions to unlearn because almost anyone in his cultural position would, but he’s also just a stand-up guy: compassionate, intelligent, open-minded, decent, forgiving, brave, hopeful.

And the galaxy tries to kick a whole lot of that out of him. It doesn’t succeed, mostly, but if Farscape is about anything other than culture shock, it’s about the lasting effects of trauma. How you can go through a wormhole one person, and experience things that turn you into someone you don’t recognize.

That’s kind of grim-sounding, but ultimately, what I’m trying to say is that Farscape is almost fanatically devoted to character work. Crichton is not the only character who sounds like he should be one thing and ends up being another. All of the characters—all of them, all of them, even the annoying ones—are complicated wonders. And you don’t have to wonder whether the events of the episode you’re watching are going to matter. They will. Everything that happens to the characters leaves a mark. Everything leaves them forever changed. Whether it’s mentioned explicitly or not—and often enough, it’s not explicit—the characters remember what has happened to them.

3) The living ship houses a lot of excellent women, among them the ship itself.

Ah, the women of Farscape, thou art the loves of my fucking life.

There’s Aeryn Sun, former Peacekeeper (that’s the military that the “insane military commander” hails from) now fugitive, currently learning the meaning of the word “compassion” (literally). She will break your fingers and also your heart. John/Aeryn is the main canon romantic ship.

There’s Pa’u Zhoto Zhaan, a priestess of the ninth level, current pacifist, former anarchist. Sorry, leading anarchist. She orgasms in bright light! (Oh my god, Farscape.)

There’s Chiana, my fucking bestie, a teenage(ish? ages in Farscape are weird) fugitive on the run from a repressive authoritarian state. Chiana is like a seductress con artist grifter thief who mostly just wants to survive so that she can have fun, damn it. Characters on Farscape do not really discuss sexualities (sex, yes, sexualities, no) and it would be fair to say that several of them do not fall along human sexuality lines generally, but I’m gonna go ahead and say that Chiana is canonically not straight.

Then there’s Moya, the ship herself, and it’s hard to get a straight read on Moya’s personality, since she mostly can’t speak. But she definitely has opinions, and things and people she cares about. And she moves the plot, though that gets into spoiler territory.

Past first season, further excellent women show up: Jool (controversial, but I like her), Sikozu (I once saw a Tumblr meme where someone had marked down that Sikozu would lose her shit when someone pronounced “gif” wrong, and that’s absolutely correct, and it’s why I love her), and Noranti (who is incredibly weird, and incredibly hard to summarize, but man, you gotta love her willingness to just show up and do her thing). Plus, there’s a recurring female villain, Grayza, who I could write probably multiple essays about. (I don’t know how you will feel about Grayza, as not everyone loves her, but I think she’s fucking fascinating, especially because she’s not actually the only recurring female villain. We also get Ahkna!)

(Side note: I should mention, here, that the cast of Farscape is really, really white. There is one cast member of color, Lani Tupu, but he pretty much represents the entirety of even, like, incidental diversity in casting for the series.)

Anyway, Farscape is full of awesome women, and also awesome and unexpected men, and it really enjoys playing with audience expectations of gender roles, generally. Literal entire books have been written about the way that Farscape fucks around with sex, sexuality, and gender. It’s a little weird because it was the late 90s/early 2000s, and sometimes that does come through, but Farscape’s guiding principle was always to try not to present American culture of the time as the norm, so like. It is not.

(An aside on Farscape and sex: Literally every character on Farscape has sexual tension with every other character. If you are a shipper, this is a Good Show, because no matter who you ship, there will not only be subtext, you will get a Moment of some kind. Multiple characters kiss the Muppet. Farscape is dedicated to getting into the nitty-gritty of the galaxy—I like to think of it as showing the guts of the universe—so a lot of the show is kind of squishy. They live on a biomechanoid ship, instead of androids there are “bioloids,” there’s a lot of focus on strange alien biologies, and lots of weird glowing fluids and things. I think the sex thing is kind of part and parcel of the larger biology focus: Farscape is really fascinated with how we all eat and evolve and live and die and, well, fuck. Which is in turn, kind of part of its focus on making everything really alien.)

4) Other stuff you should know.

Farscape as a whole is excellent, but it was kind of the product of creative anarchy—an Australian/American coproduction (oh yeah, everyone except Crichton speaks with an Australian accent) that was also partnered with the Henson company, whose showrunners were based in America but whose actual production all took place in Australia, and who was just constantly trying new things. So individual episodes can vary wildly in quality. It really takes off in the back half of season one, but no season is without a few off episodes.

It is extraordinarily funny, and I really think I haven’t stressed that enough. It’s one of the shows I want to quote the most in my daily life, but almost all of its humor is really context-dependent, and if you just wander around going, “Hey Stark? What’s black and white, and black and white, and black and white?” people look at you really funny.

It’s very conversant with pop culture generally (although obviously sci-fi specifically, and Star Trek most specifically of all) and really enjoys deconstructing tropes, often to the effect of, “Well, Crichton really does not know what to do here, does he?” but sometimes just to be interesting.

There are also a lot of themes about science, and its uses and misuses.

The whole thing is fucking epic, and if you get invested at all, will take you on an emotional ride.

This show is weird. I know that that’s probably come across by now, but I think it’s worth reiterating as its own point: Farscape is so weird. Like, proudly, unabashedly, trying its hardest, weird. An amazing kind of weird.

If you’re into fantasy, you should know that there’s a recurring villain who’s just a wizard. Like, they don’t bother to explain it any more than that, he’s just a fucking wizard.

In summary: You should watch Farscape because it is a weird, wild, emotional, epic romance/drama/action/allegory full of Muppets and leather and one-liners and emotional gut punches and love, and if you let it, it will worm its way into you and never let go, which, now that I think of it, is another Farscape plot.

Send me meta prompts to distract me from my migraine!

#farscape #meta

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kittyprincessofcats · 4 years ago

Text

She-Ra S5 E07 - Perils of Peekablue

There might be spoilers for the rest of the season in this post!

I’ll start by saying upfront that I pretty much consider this to be the weakest episode of season 5 (or at least one of the weaker ones), even though it does move the plot along significantly. The main reason is that, as I said before, I don’t care about the group on Etheria as much as the group in space (with the exception of Scorpia and possibly Spinnetossa), so an episode like this - even though I get why it’s important - just won’t interest me as much as what the gang in space is up to.

That said, it’s not a *bad* episode or anything. Let’s get into it:

- The entire beginning scene where Adora tries to transform into She-Ra and the others keep interrupting her is absolute gold and I love everything about it. Especially Catra, OMG! The way she shows up and actually asks “Are we messing with Adora?” - She’s not even pretending to be helpful and I love that she’s bonding with Glimmer and Bow over “messing with Adora”. And how she then just flings herself onto Adora’s lap and brushes Adora’s face with her tail while cheekily saying “Yeah Adora, concentrate!” - brilliant, absolutely brilliant 🤣. And I also love how Adora doesn’t even try to push her off and actually holds her. These two are too cute.

- I also wonder if the “You can’t let distractions keep you from transforming” line was intentional foreshadowing for Shadow Weaver telling Adora that Catra’s a distraction.

- I like Catra’s new outfit! Well, it’s pretty much just her old outfit with a few adjustments. But still, nice! And she looks really cute with short hair.

- I feel like this beginning scene is pretty much here for two reasons: It sets up that Entrapta is trying to reach the rebellion on Etheria, which will be relevant at the very end of the episode, AND it shows Catra’s new outfit, so we can have a new opening now.

- Changes in the opening: Time for some really exciting mid-season opening changes! Catra’s missing from the villains’ card for the first time ever. Instead, Horde Prime’s hands are now closing around a glowing orb (I assume that’s meant to be the heart of Etheria). At the part where Catra and She-Ra fight, Catra now has short hair, She-Ra is in her new form, and instead of a snarl the fight ends with a soft smile between them (I’m not crying, you’re crying. Best opening glow-up ever! 😭). In the final heroes’ shot, Adora back to being She-Ra instead of Adora, but this time in her new form. And Catra is *finally* in the heroes’ shot as well. GOOD STUFF. (In general, I just LOVE that they actually kept updating the opening in the middle of the season. That is SO cool. But the change that really gets me is how they updated Catra and Adora’s fight, because that’s been the same since the beginning of the show and now it’s SO SWEET.)

- Okay, so my biggest problem with this episode is that the plan to find Prince Peekablue seems... kinda dumb? So they’re planning to sneak into an underwater soiree undercover and abandon everyone else at the camp to find a “hermit” no one has seen in ages because he might know where Adora and the others are? As a plan it just seems far-fetched. I get that they want to warn Adora and company that Prime is chipping people (they don’t know that Adora’s group already knows that), but how would finding Peekablue even help them achieve that? He could tell them where Adora and the others are, but... that’s it. It’s not like he can also magically communicate with Adora or anyone else. And didn’t Swift Wind tell the others last episode that Adora’s coming home and that he can feel her coming closer? So shouldn’t they already know that the group in space are on their way home? (Granted, Swift Wind told that to Micah, Frosta, Spinnerella and Netossa - but I’m assuming the rebels communicate with each other and Micah would have also told Mermista and the others?) I mean, idk how much time supposedly passed between these two episodes, so maybe it’s been a while since Elberon? Also, when did they even figure out that Horde Prime is chipping people? Last episode, Micah still said they had to “figure out what that was”. And if they know about the chips now, it might have been a good idea to check the necks of everyone at camp right away - though to be fair, they maybe didn’t realize how the chips work yet. And yeah, I am nitpicking here (and obviously the rebels have to mess up so things can go south this episode, so I guess they have to make some bad decisions.)

- That said, I love all of their outfits! And I like that Scorpia’s alias “Lynda D’Ream” is a reference to the 80s cartoon.

- Netossa’s lucky that she wears an outfit with such a high collar - makes it hard to put a chip on her neck. (Also, idk if I’ve said this before, but I love Spinnerella and Netossa’s character designs and outfits. They’re both fashion queens.)

- Just the fact that it really is Spinnetossa’s anniversary and Netossa thinks that’s why Spinnerella is acting strange - I mean, what are the odds?

- “They are my people! Which means that most of them have sworn revenge against me at some point.” Okay, that is pretty funny. And getting to meet all of Sea-Hawk’s exes was pretty funny, too. (Yeah, officially they’re not his exes but just people whose ships he set on fire... but come on, the subtext isn’t really subtle here.) And I love the whole running gag of him and Mermista fighting all of them behind the bar counter with Mermista doing most of the work and getting more and more annoyed with it - but when they’re finally done, it turns out there’s also someone there that *she* doesn’t want to see, because she set their ship on fire. Comedy gold.

- Scorpia is me at a party :( I also find it super hard to socialize and get into conversations with strangers. Very relatable there.

- I also love how the sweet flowergirl Perfuma has absolutely no problem blending in with a bunch of criminals.

- “You’re amazing. You have the biggest heart and you could do whatever you put your mind to.” Aww. I’m glad someone told Scorpia that!

- “You should do things not because you’re good at them, but because they make you happy.” That actually is some really good life advice. People should keep that mind in general.

- (I love how Sea-Hawk and Mermista are carrying Admiral Scurvy away in the background while Scorpia and Perfuma are having their heartfelt talk 🤣.)

- “Repeat after me: I can do this. I can do this.” “Perfuma can do this.” 🤦 I feel bad for laughing, but... gosh, Scorpia has some serious self-esteem issues.

- Okay, time for an unpopular opinion: I’m... not that into Scorfuma. There’s nothing wrong with it and I’m not against it or anything, but it just doesn’t particularly grab my interest. That excited feeling you get when you ship something just... isn’t there for me with them, sorry.

(I kinda felt like I had to explain/justify myself, so I started to write a small essay on my ships here that doesn’t really have anything to do with the episode. Feel free to just skip this part.)

I consider myself a multishipper and while my #1 OTP is definitely without a doubt Catradora, I also really have a soft spot for Scorptra (to the point where I’d say it’s probably my #2 after Catradora). And, to make it short, Scorptra vs. Scorfuma is one of those “fanon vs. canon” things for me, where what you want to see happen in canon isn’t necessarily what you find exciting or interesting to explore in fanworks. Obviously Scorptra was never going to be canon because Catradora is a thing, and I’m perfectly okay with that. And in canon, Scorpia getting out of a toxic friendship, moving on from her unrequited feelings, and finding love with someone else (who treats her right) is the right message to send, so I’m glad that’s where the show went. But when it comes to enjoying a ship in fanon (which is what I consider “shipping” to be), then I don’t pick my ships based on how healthy they are in canon, but on how much their dynamic fascinates me and just on whether that certain spark that makes me like a ship is there or not. And in that sense, Scorpia’s dynamic with Catra, which was explored over the course of 4 seasons, is just infinitely more fascinating and spark-inducing to me that her relationship with Perfuma.

And even beyond Scorptra - if I had to ship Scorpia with someone other than Catra, my first pick would be Entrapta. (Yes, I do ship Entrapdak, but like I said - multishipper here. Also, Entrapta has two hands!) And my first pick for who to ship Perfuma with would be Mermista because I like their bickering and I have a thing for opposites attracting.

Anyway, I’ve been rambling about ships for too long now. The bottom line is: I’m fine with Scorfuma being canon and it makes sense that they fit together since they’re very similar people. I don’t dislike it, I’m just not as hyped about it as many people seem to be. On with the episode now, please!

- “I guess I don’t know what a hermit is after all.” Yeah, Peekablue was giving off Double Trouble vibes from the beginning, tbh.

- I love how Netossa is competitive even at planning anniversary surprises.

- Perfuma loudly supporting Scorpia when she ends up on stage is a super nice moment, though. And Scorpia’s performance? Amazing!

- I wonder if Double Trouble made up that whole “She-Ra in space” vision because they were pretending to be Peekablue and just got it right by accident, or if they actually knew that much from their time pretending to be a clone. I wonder how much time they spent as a clone and what exactly they saw.

- Scorpia realizing it’s Double Trouble and then tricking and unmasking them was an amazing moment. So much for Scorpia not being smart!

- I was so excited to see Double Trouble again! Tough it makes me a bit said that they refered to Catra as their “cash kitten”. While they never made a secret out of being in it for the money, I kind of like the idea that they did care for Catra after all. (Do I just ship everyone with Catra? The answer is yes.)

DT: “I know where your friends are. And I’ll tell you - for a price, of course.”

Perfuma: *grows flower arm canon*

DT: “... Fine.”

😂😂😂 Love that.

- “It makes for a very dull audience when everyone’s mind-controlled.” Okay, but that really is a good reason for Double Trouble to help the heroes out without really changing their motivation. They’re still a Chaotic Neutral who doesn’t particularly care about morals - but it would make for a very dull audience if everyone was mind-controlled.

- “Prime is angry. She-Ra showed up and stole his little kitten away.” Like I said before, I LOVE that that’s the reason why Prime’s so pissed in the first place.

- The confrontation between Netossa and Spinnerella is so heartbreaking, but when she said “show me your neck” it again made me wonder why they didn’t check everyone’s neck at camp before.

- “What a shame we can’t be together... in Horde Prime’s light!” Ooohhh, it’s so creepy and angsty, I love it!

- And Mermista’s chipped as well because obviously things have to go south here.

- The parallel confrontations at camp and at the soiree are really cool scenes. I especially like the Spinnerella vs. Netossa fight. And Micah’s chipped as well, because things have to go wrong and Glimmer mentioned being “a day away from meeting her dad” - so obviously that has to be ruined now, too.

- “A little help? I need to lift my hand to the heavens.” Gosh, I love DT.

- Scorpia’s sacrifice made me tear up 😭. (When I first watched it, I was scared she was actually going to die and not just get chipped - I’d never have forgiven the show for that.)

- Can we talk about how strong Netossa actually is? She fought off both Spinnerella and Micah by herself, made a big enough net to cover all the chipped people, and got herself and Frosta out of there safely - I don’t want to hear anything about her powers not being strong again.

- “Happy anniversary.” Noooo, now I’m crying again... 😭😭😭 It’s so sad, but so romantic... (I really love that this season gave Spinnerella and Netossa more screentime. And I’m always here for some angst!)

- And finally, Perfuma is able to contact the group in space and warn them about the blockade. I really like that scene. I like that Perfuma specifically says “You need to stay away”, since we know what happened last time someone told Adora that. And the whole grim mood of Perfuma apologizing and saying the rebellion is compromised, the shaky pictures, the connection cutting off, and then the shot of the ship all alone in space and the silence - amazing. Basically, this episode was “things go very wrong on Etheria, and now the group in space has a serious problem”.

This was a good episode, overall. Like I said, the main reason I consider it weaker is because I care more about the group in space, and they were only here for one scene in the beginning and one in the end. But this was still pretty solid. It had some funny and sweet moments, and then some really cool and dramatic scenes in the end. And of course, it was a very important episode for the plot because things are now really not looking good on Etheria. My favourite moment was Catra sitting on Adora’s lap in the opening scene, though.

[Previous episode] [Next episode]

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unproduciblesmackdown · 4 years ago

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@uberoll-oystercrackers putting this PT convo on blast just for the sake of switching to this format where u don’t have to break everything up via replies because [comically deep inhale]

honestly like idc idc i guess ppl are just like “uhh mytho’s got nothing going on b/c he has no feelings!!” like Yeah Correct, that’s a premise / inciting factor for this series and everything everyone’s doing lol, it’s only Boring if you don’t think about the character at all lmfao which i guess some ppl don’t, but like, there’s only 4 of them.....it’s Wildly Interesting that he literally has no feelings at first, like, for one thing it’s cool how there’s always the Idea of characters who don’t have emotions or act on them, but this is like the rare “realistic” situation where having no feelings means he needs someone to steer him around and make choices for him (and how Vulnerable that leaves him lmfao like episode 2 is wild but also that ppl just haven’t really realized that they Could just pick mytho up and pitch him into a wall, and fakir and rue are sort of careful neutral alliance keeping tabs on him) and you know, the whole s1 structure of mytho regaining both Capacity For / Experience of An Emotion and his sense of identity and by extent of all this his agency, and how like, Thematic everything surrounding this character is that’s reflected in the overall series like. trying to control someone for your own benefit vs being willing to sacrifice your own interests (and then some...) for their freedom & the Protecting Someone (And/Or Wanting To) As A Love Language that all the characters show for each other at various points & hope vs despair.......and like No Shit he’s dispassionate & passive b/c he can’t Feel Feelings & resultantly can’t make decisions or feel motivations but obviously he’s still Motivating other characters to act on his behalf, & there’s so much mystery & drama already in “yeah this guy you think is just a neat handsome guy is also an actual prince from a story who’s Real & sacrificed his heart in the fight with an evil giant raven monster that eats people & so he can’t feel anything or remember who he is” like damn!!! epic of him even if right now he can’t do much of anything on his own. i’m interested, and then i’m Interested every time in the Drama & Mystery of this person regaining parts of himself and completely rediscovering An Emotional Experience and how that is totally recontextualizing his entire existence for him.....

plus also even though “person literally lost heart via magic and doesn’t know what Feeling Things is” isn’t a We’ve All Been There situation i was like oh and you know it’s not like what mytho’s got going on isn’t potentially Relatable....can get into a side essay about dapressione and trauma and other types of stuff that can make it seem like someone can’t/shouldn’t have full access to their feelings / self / agency &/or it’s Dangerous if they try.....whew

but continuing on YEAH ugh just completely fascinated with mytho the Entire Time actually lol like, i’ve tended to lose steam in early s2 b/c he’s sort of Less involved beyond the [hehe time to cause some trouble in this particular ep] role lol but even so it’s like well it’s kinda fun when at least somebody’s being a bitch who lives for drama lmfaooooo & we get mytho Struggling Internally & sometimes punching through that way but again it’s like yeah oops the guy was basically autonomous but zwoop here’s a problem where that doesn’t mean shit anymore lol b/c he’s got this alternate evil self steering the ship all the time now lol got em.....the Peak of that i guess is where we get to have an epic swordfight between raven!mytho and fakir like you know what fuck yes!!! the intrinsic drama of that lmfao!!!! and then it’s like “oh no :/ loving the drama? that’s just what drosselmeyer wants” except Not b/c actually what makes it totally rule is that it’s this chance for Real Mytho to come through for the sake of protecting fakir (tbt “i wonder what i think of you, fakir”...) and really like that being what prompts fakir’s “you know what, even though before i was afraid my role as a knight would kill Me and i’m afraid my coincidental(?) role as a guy who can Reality Write could kill Anyone Else, i gotta try b/c that’s the only thing i could possibly do here and i want to try protecting everyone else b/c everyone else including mytho is protecting Me” and like augh everyone is so Thoughtful about how to try to help mytho out even as like, they can’t hardly interact with him or undo the situation lol.....as you’re getting into the series finale and everyone’s just outright Voicing things and you get “i/we want to protect mytho” like 32x and it’s beautiful each time ;___; like and well sorry but him & his heart/lack of are also the heart of the whole story here.....

and you know what *i* want to protect mytho, sympathizing with all the characters like fuck yes you’re so right, this guy rules, episode 6 aka The Fear Episode is SO good, like, you’ve gotten kinda used to the episodic format here, ep 5 did sure also make it obvious that things are Building on what’s happening prior here & that there’s stakes and stuff but it’s such a shakeup, like, that maybe just kinda sneakily dipping in and out of the arena giving back a piece of his heart until it’s done with, no problem, Isn’t Gonna Happen, and again, the Drama of it all......that the heart shards are yeah kind of their own People who are these fractions of mytho’s self and the way you interact with them is gonna like, affect things, since tutu didn’t like “resolve” things with that heart shard and just kinda got him on a technicality there lmfao so it’s like, yeah not only does mytho have a more general / abstract cause to be afraid of tutu & her bringing all these Unknowns & completely new things to him / changing things up and apparently introducing conflict, but you’ve gone and gotten his capacity for fear all recently riled up and specifically afraid of his interaction with You from 5 sec ago, and how could anyone know this mysterious magical being giving you Negative Feelings is like, Safe......and i’m sure it’s all compounding here, like, it’s Wild to be suddenly experiencing A Feeling for the (seeming) first time, and that in itself sure could be Scary, he just hasn’t had the proper emotion available with with to Be Afraid, now he’s gotten back a freshly stoked (capacity for) Fear and how off the shits it must be to be afraid for the first time anyways, or to be feeling the other stuff for the first time, and who knows what Unfun Feelings could come next, there’s a lot to freak out about.......and not like it’s trying That hard to never suggest like oh fakir's not that bad even though he’s technically an antagonist at the start b/c of being at odds with / against the protagonist, it’s pretty telling there lol like he’s unhappy with mytho having feelings again at all and has already been getting mad about it but is just being Helpful here and trying to comfort him, like aw that’s neat i think it’s nice, and again throwing it back to “I Wonder What I Think Of You, Fakir” you get fakir reassuring mytho that nobody but him is around, and mytho having this capacity for Fear is choosing to confide in fakir re: what he’s dealing with here (not that this would on it’s own be some guarantee that mytho’s Right to be unafraid of fakir, but, knowing all we eventually know...) like again lol it’s funny that drosselmeyer’s loving the Drama of mytho only having regained Negative Feelings like, i mean i’m soaking it in as well but it’s like, that guy’s all about Angst and it’s like no im here all about the Hurt/Comfort more like, thank you lmfao

it’s also SO good how it’s like, the next episode is turning around & giving the story a way forward not by like, oh let’s just counteract this Fear mytho’s struggling with by returning the....emotion of Courage i guess, but rather by giving him back Curiosity to ultimately lead to him actually seeking a conversation with tutu.......and it’s like AUGH it’s soooo fun that he goes to that river and has a conversation with his own heart shard lmfao like that’s you!!! and that You does not realize you’re them!!! that’s wild and i love it......wait i took low res screenshots when i rewatched this a few weeks ago lmfao

i Love it lmfao like it’s Such a good choice to have him not only have lost his Emotions but also memories / knowledge of who he, himself, even is.....like yeah man it was all on you to fight this heart eating raven monster!!!!!!!!! which you know, it’s also Fun that earlier in that episode when he and fakir are hanging out in the secret Problems Mill (which....fakir is hilarious like that lmfao. whole other tangent here like ppl are not only rolling with Animals As People but stuff like “yeah fakir might just be like ‘oops gotta go!’ and whisk mytho away to various out of the way Locations” like lmfao these teens have some free rein, but it’s nothing compared to s2 where it’s like “They Were Roommates but ig fakir tried to kill mytho who’s now being really dramatic and weird which is v different from before and maybe he’s in love with that one random dude who’s around now, which sucks for everyone else, oops now he’s just like Vanishing for god knows how long at a time it’s fine!!!!” lmfao like god. ballet school just is like that sometimes...) anyways Yeah that mytho’s been having nightmares about the raven and fakir is just going like IT’S FINE JUST DON’T THINK ABOUT IT lol and knowing fakir is also being pretty driven / restricted by fear, reasonably, as he thinks (well. and is correct) that he’s The Knight and his fate is literally written as “yeah if the story gets going and you’re a part of it you’ll just be killed” like yeah, oof......Wonder What I Think Of You Fakir like yeah AND he is that knight you actually did know who was suddenly killed trying to protect you and he’s sorta accepted that role again except he’s not really a fan of that Being Killed thing so here we’re having some issues in his misguided approach here re: Mytho Should Not Get His Heart Back, but he’s also trying to protect them Both from the story, and he’s only So Willing to act Against mytho, like, well hey thanks for apologizing after you hit him and then like, not doing that anymore lol, v reasonable how he’s struggling here lol where he’s trying to Protect mytho but the story a) wants to invite tragedy and b) has already said that The Knight has been / will be killed and can’t actually protect the prince within the story, also c) he’s just like one random high school guy out here......and also that it must just be kinda hard to adapt to this changing situation where mytho Is regaining this sense of self and motivation, but for like the past decade or whatever he Has needed fakir to just be in charge and tell him what to do all the time and, if he had the sense of what it was to trust someone, trust fakir to just always be acting in his best interest, but then mytho’s idea of his own best interest a) starts to Exist and b) is at odds w/fakir’s b/c also c) he doesn’t have All his feelings yet, Or all his memories, while fakir is like “noooo i know the story”.....like there was never any need to just like tell him he sucks at random times lol but it’s also kind of funny that’s just part of fakir’s shtick, calling mytho a dumbass one more time when he’s just fully himself as The Prince again lmfaooo. but prior to that, surely fakir could wonder what mytho thinks of him (or potentially Could think of him) too.......it’s just soooo good when mytho is like, expressing things verbally while trying to work through / figure out Feelings and even ones that he doesn’t have back yet, and it’s always fun how that inevitably throws off whatever character he’s musing about this to......including whenever ahiru’s just like “oh fuck yes he can do this b/c he has more feelings back now, that rules” and/or “aw :( he’s struggling w/this b/c he only has Some of his heart back”

and also that reminds me it’s SO good when the characters just kinda get to Do Something together lmfao like. ahiru and rue hanging out when looking for mytho that one time, iconic stuff, mytho and ahiru hanging out in the previous episode, iconic, maybe it kills me that in the first ep of s2 you have mytho saying ahiru’s his friend and the only person he feels like he can tell anything (and ahiru feeling bad she hasn’t Told Him Everything lol) and then he basically never gets to interact with her again knowing and as himself like Scream it’s fine ;v; !!!!!! let these people spend more than 3 seconds together Interacting lmfao it’s soooo good when they do :’0

and THEN you get into how there’s all this stuff re: The Story, like, fakir is the reincarnated knight, ahiru is the duck given tutu’s abilities Via a piece of mytho’s heart, but we had the original knight and tutu in the story as these actual ppl who we only hear a Little bit of lore about, but mytho actually knew / knows, and like, the original genesis for tutu only being on 1 Page of the story and apparently drosselmeyer doesn’t even really put any thought into what her motivations could be lol like yeah idk whatever she wants to marry the prince or whatever so that’s why she loves him and Says It and disappears......and like we have almost No direct info about her but uh nbd at least some of her actual essence is actually now an intrinsic part of mytho’s actual heart and specifically embedded in the heart shard of Hope, like damn!!!! you Know there was something more Real and Complex going on there and i love it so much.......and the original Knight, lohengrin.....might have been doomed to be unable to protect mytho with his sword, but there’s other ways to protect that guy and Someone needed to be doing it.......i’m just like wow mytho’s gf and bf!!!! and they both sort of died but hey. there’s still a lot to think about

so yeah lmfao love that you can originally see this series like, a decade ago and here it is like damn still lying down / yelling / generally riled up about mytho and just having So Much to think about / appreciate from this series like. it’s so Singular and has so much going on.......cherish it and i’m just still anytime like [epcot vine voice] Mytho...........

#uberoll-oystercracker #princess tutu

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pynkhues · 5 years ago

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Love your analysis on Beth’s playing a role to control Dean—but now I’m curious about your thoughts on the ottoman haha

Oh my gosh, thank you for taking the bait and asking, haha. I’ve been thinking about the ottoman all week, because it felt like such a strange and very specific thing for the writers to bring up again in the context of Dean, Judith and Beth in 3.11 after Beth had made the joke about it to Rio in the bar back in 3.08. And hey! I get a lot of asks about writing and about critical creative theory, and how to develop both those skills, and I always give the advice to start by asking why.

So let’s ask why together, because let me tell you: if something in a story feels strange, and it’s specific, and especially if it’s repeated, it usually means the writers want you to notice. And if they want you to notice, that in turn means it’s either a) an important plot point (which, err, I don’t think the ottoman is, haha, unless somebody stashed some money in the thing), or b) it’s important symbolically (and sometimes both! The flashforwards on Breaking Bad in particular did that really well).

So yeah, I’ve been thinking a lot about the ottoman, and these two, seemingly flippant references to it, and ultimately it’s reminded me of a post I never actually wrote (classic Sophie, haha), about Beth and Judith in 2.09 and 3.02, and that kind of made a feedback loop in my head and - -

Look.

Basically I think it’s a symbolic rejection of Beth’s old life / Judith’s life; an important character beat for Beth, and an indicator that she’s more than what she was with Rio, and that she won’t ever be more than that with Dean, but that’s a lot. So.

Let’s break that down a bit.

Mommy Dearest

While motherhood is a central theme of this show, I am perpetually fascinated by the fact that the only mother to the main characters we really know is Dean’s mother, Judith, something that does actually feel like a deliberate choice.

After all, I could write a whole fresh essay about how it seems that Beth, Annie and Ruby each function as mothers themselves in ways that reflect a multigenerational trauma, and, ergo, a damaged mother in their own childhoods – we learnt in 2.08 after all that Beth and Annie’s mother was bedridden with depression, if nothing else, and Ruby’s mother was widowed when Ruby was just a young teenager (to say nothing of the trauma Ruby must’ve faced herself losing her father at that age) – but actually…that’s as much as we do know about them.

Dean though.

Well.

We actually know probably more about his family and his history than we do about any other character on the show. We know his parents were John and Judith. We know that his father created Boland Motors and that Dean inherited the business from him. We know that John cheated on Judith throughout his career, and that Judith briefly tried to go back to work herself as a shop girl before feeling forced back home.

We know that Judith sacrificed everything – her career, her autonomy, her body, her happiness – to give Dean the illusion of a perfect family. While Dean might not know all the details himself, he’s certainly picked some of the expectations of that up through his parents, because ultimately, he expects Beth to do the same. And she did! And still does, in many, many ways.

There are a lot of examples of this, but the biggest one, of course, is the arc across 2.07 through to 2.10, which culminates with Dean holding their children ransom at Judith’s house, blackballing Beth into caving, and then flat out not caring about her inner life at all in 2.10.

That entire arc hinges on a lot of things, but one of the most integral conversations within that is the one Beth and Judith have at Emma’s birthday party in 2.09.

A conversation that’s pretty sublimely paralleled in 3.02.

2.09 vs 3.02

Beth and Judith’s conversations at Emma’s birthday party in 2.09 and then in the Boland kitchen in 3.02 are in fact two scenes that are also in conversation with each other. They’re different, but they’re the same. They’re circling the same information, while offering new takes, bantering old jokes that pivot into new jabs. They’re great, and I know they’re nobody who watches this show’s favourite scenes, but I actually love both of them a lot, and I think they’re really important – not just for Beth as a character, but for the show’s themes overall.

The scene in 2.09 falls on the back of Dean having taken the kids, and Beth’s grief arc around that. She only gets the invite to Emma’s birthday party because Dean’s put her in a position where she has to ask for it, and within the first 20 seconds of Beth and Judith exchange while they’re cutting up Emma’s birthday cake, we get this absolute gem:

Beth: [Dean]’s a good dad.

Judith: So was John. Not much of a husband though.

Judith goes on to confirm that John cheated (with enough women she “stopped counting”), just like she now knows Dean did, but that’s not the point, and it’s not the thrust of the conversation.

The throughline is that men might cheat, and you can leave them, but as a mother, your responsibility is to them. You have to sacrifice your own needs to give them the best life you can.

In both Ruby and Annie’s cases, these are moral sacrifices to create financial gains for those children. Ruby’s in a loving marriage and needs to pay for her daughter’s medication, so that’s all literal with her. For Annie, it’s not quite as literal, but explores a parallel morality by way of her empathy – she feels no moral guilt about robberies, but she feels moral guilt by way of Marion and Nancy, in order to provide for her son.

Beth’s not like them.

She enjoys crime. She empathises with others, but isn’t a bleeding heart like Annie.

All of Beth’s sacrifices are felt personally.

She dims her own light, her own passions, her personality, her needs, her ambitions, to fuel the light of Dean’s, or for their children.

It’s a conversation she has again with Judith in 3.02.

Judith’s been helping out more since Beth went to work. It leads to a few confrontations across the episode, but the one between the two of them in the kitchen after dinner is pivotal. I could actually transcribe the whole conversation here, because it’s honestly awesome, revealing dialogue, but instead I’m going to break it down into three little blocks.

a) The first in that it tells us how much Dean diminishes and doesn’t think about his mother.

Beth apologises for the fight which Dean ignores, and Judith asks a simple question:

“Did Dean ever tell you that I worked?”

No, Beth replies, simply, effortlessly.

A telling thing for a couple who have been together for over 20 years.

b) It builds to Judith telling Beth about having Dean, and then –

Judith: Everyone’s fawning over this new baby boy, while I’m just…nothing. Empty. Flesh and hormones over ice.

Beth pours them both a drink.

Confides that she had post-partum depression too.

c) But that’s not what Judith is saying. Judith’s not empathising with Beth, she’s telling her to go home.

Beth: Your happiness was important too.

(beat)

Judith: How much does the card shop pay?

Beth: You shouldn’t have quit.

Judith: And you should be home for dinner if you don’t want the kids saying grace…what a lie, huh? That we can have it all.

This scene is sharp, and it’s designed as a narrative weapon against Beth, who is desperately trying to keep her family above water, and actually gives Beth the triple duty in terms of protective responsibilities.

She’s trying to provide for her children, of course, and trying to justify her own purpose outside of motherhood to her mother-in-law, while also concealing from Judith how much Dean has failed their family in every way.

Judith gave up everything for Dean, so what can Beth do except placate her?

The thing is, these two conversations have very, very different results.

In 2.09, Judith’s conversation with Beth was a key part of Beth ultimately quitting both crime and Rio, and trying to revert back to the woman she was – the woman Judith would always be.

3.02 had a very different outcome.

Beth didn’t quit.

She doubled down.

Not only that, it directly pivoted into a scene where Beth, Ruby and Annie were criming, fucked a part of it up, and Beth’s instant response is “What would Rio do?” trying him into that overall arc.

The Ottoman

Which brings us, finally, to the ottoman!

It’s an offhand joke in 3.08, right? Beth’s dressed up, and she and Rio are in one of their games of eternal bargaining after she robbed him and he replied by stealing literally everything she owned. She’s trying to earn it back, he says he has something for her, she jokes, “My ottoman?”

It’s not serious. She’s not serious, which already loads the term, but Rio’s response is equally light, equally dismantling.

No.

The thing he has for her is Boomer.

And sure, there’s a lot to unpack in that, but what’s important here is that Rio treated the ottoman as something as frivolous as Beth treated it. They were on the same page – in maybe one of the few moments they were all season.

He knew as well as she did that the ottoman wasn’t something she needed.

The scene in 3.11 is really different.

Beth’s literally dressed down, on the toilet, in the robe she wore when she broke up with Rio in 2.09. Dean barges in, tells her no one will give him money to buy the hot tub place, then instantly breaks into a diatribe about how his mother wants to give them his ottoman.

Beth: We don’t have a couch!

Dean: I told her that.

Beth: Good.

Dean: The ottoman will be here tomorrow.

[Beth sighs]

Dean: I know, I’m sorry.

[beat]

Dean: I just don’t want [Rio] involved again.

The scene serves the purpose of, once again, emasculating Dean – showing that he can’t get out from under his mother’s thumb in the same narrative beat that it tells us as an audience that Dean can’t wriggle out from beneath Rio’s either – at least not as long as he’s with Beth.

In turn, the ottoman as an object holds a lot of narrative weight.

It’s something Beth and Rio can joke about, and something that labours on Beth and Dean’s marriage.

On a deeper level, the ottoman is something that holds a purpose, yes, but needs other items to be complete.

On its own, an ottoman is a joke. With a couch, it’s a living room.

Beth wants the couch – she wants the career – she wants the functionality and purpose of it. She wants to build her home herself, not scrape around for leftovers, nor rely on superficial or frivolous function in the way that she did before she robbed Fine & Frugal.

Beth is a character bursting with purpose, utility, passion. She wants to build this new life, not accessorise it, and Rio knows it, and Dean can never offer it to her, and that matters to her, particularly as she tries to untangle her future from Judith’s.

What I’m getting at is that I think Beth made a very different decision in 3,02 than she did in 2.09. She decided she was going to do this. She was going to be less of an ornament in her own life, and it would take her away from her children but hopefully give her more function to provide for them, and notably for herself too, and I think the narrative symbol of the ottoman is that the domestic goddess / Judith image isn’t her anymore, at least not exclusively. It’s not what she needs, and Rio knows that, and can laugh with her as she makes a joke of it, while Dean knows it, but will never fully support or empower her in disentangling from it.

#gg 2.09 #gg 3.02 #gg 3.11 #beth x rio #beth x dean #beth boland #rio #dean boland #judith boland #welcome to my ama #audreydear

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eldritch-elrics · 4 years ago

Text

this summer, me and my brother watched four whole shows. at long last, here is my comprehensive review of all of them!

in the order we watched them, these shows were:

avatar the last airbender (ATLA)

mob psycho 100 (MP100)

demon slayer / kimetsu no yaiba (KNY)

fullmetal alchemist: brotherhood (FMAB)

they were all very very good!

i’m not going to try to rank them, but, as is probably obvious by the state of my blog, my favorite was FMAB :) if i had to pick a least favorite, then, it would probably be KNY—not by any fault of its own, but just because it didn’t appeal to me quite as much as the others. still a very good show!

i will review each show by:

giving a quick plot-based pitch discussing the show’s hook or appeal

discussing one element that i believe it does better than any other show on this list—in other words, a quality that i think it stands out for

discussing one element that didn’t appeal to me or that i had issues with—a criticism

putting forth my favorite character and favorite episode or arc, just for funsies

including various other commentary. mostly positive, as, again, i did really like all of these!

(i’ve tried to make this whole thing free of specific spoilers, but if you’re planning on watching any of these shows and want to go in more-or-less blind, it might be best not to read this.)

first of all, i’d just like to discuss all four of these shows as a whole! it was definitely interesting watching one after another and noting similarities between them.

all of them have siblings in them! which is, perhaps, fitting, as i watched them with my brother

two include a pair of siblings in which one has powers and one doesn’t (at least at first), and part of the narrative involves getting better at using those powers (ATLA, MP100)

two include a narrative centered around a pair of siblings and something tragic that happens to them, resulting in the older one being traumatized and forced to train to become a soldier, and the younger one turning into something (arguably) inhuman. the protagonist’s major goal is to return his younger sibling to the way they were before (KNY, FMAB)

ATLA and FMAB are both fantasy political dramas, which is rapidly becoming a favorite genre of mine

most of these are historical, or historically inspired in some way, which is interesting!

all of these shows are really really good at character building. all the main characters are interesting and complex, and the relationships between those characters are similarly nuanced and very well written. they make you really care about both the protagonists and the side characters!

avatar: the last airbender

pitch: as the ever-growing imperial force of the fire nation threatens the earth and water nations, a kid from the long-lost air nation turns up and it turns out he can control all four elements and he has to save the world and all that. sorry i tried to write this pitch like five times and realized that well at this point i think everyone reading this will know the plot of avatar

stands out for: avatar has possibly the best worldbuilding i have ever seen in a show—it takes the time to introduce us to so many places and aspects of its world, both explicitly and subtly. the main highlight of this is the magic system. by creating a magic system based in body movement, the process of using magic and learning to use/control it better becomes immediately obvious to the viewer. combine that with the philosophy behind each type of bending and the way that characters take bending inspiration from types different than their own, and you’ve got a system that is complex, flexible, believable, internally consistent, and just plain fun! it makes action sequences a blast. i especially liked the moments when bending was stretched to its limits in totally logical ways (metalbending, bloodbending). not to mention the way that bending is seamlessly integrated into the world of avatar! the example that comes to mind is the earthbending-powered transport system of omashu. a whole essay could be written on that topic alone!

criticism: i know this is a sentiment shared by many people, but the first season was kind of boring to me. some of the humor and the plots felt hit-or-miss. of course, it needed to take that time to establish the world, and it does a great job of doing that. it just didn’t hook me until the second season.

favorite character: i love toph she’s so much fun :) iroh is a close second! and zuko is great, too, of course

favorite arc: i loved ba sing se a ton, especially the episode when they get there and everything feels off. it felt so resonant with real life, in a very fun way. there’s a reason “there is no war in ba sing se” is a meme…

other commentary: what can i say? it’s a classic for a damn good reason. the plot is tight, and it does a great job raising tension and introducing new elements and twists. i also love the care put into the antagonists, especially azula, who has a fascinating arc.

mob psycho 100

pitch: a middle schooler and a charismatic con artist team up to smite ghosts using extrasensory powers. thing is, only the middle schooler actually has ESP, and it happens to be really, really powerful. can he navigate the difficult world of middle school while also getting a better grip on his powers—and his bottled-up emotions?

stands out for: the way that MP100 uses animation is excellent. it takes a little getting used to but it’s just so fun, combining all sorts of different techniques to create an experience rich with drama and emotion. it’s playfully exaggerated and self-parodying, adding to the show’s fantastic sense of humor as well as its truly emotional moments.

criticism: the way that ESP works makes suspension of disbelief tricky. it’s a great feat to introduce a character who is essentially all-powerful and still make them interesting (even in fight scenes), but at times (especially the second season finale) it felt like a magic system with too much breadth and too few limitations. this might just be my bias for hard magic systems talking, though.

favorite character: other than mob and reigen? probably teru. he’s loads of fun AND all the season 1 episodes he’s in slap hard

favorite episode: the one where the girl asks mob out on a date as a dare.. it’s super cute

other commentary: thank you mp100 for being the leftist propaganda we all deserve <3

in all seriousness though, this show is a blast!! it does a great job switching between silly and serious in the blink of an eye. i also really appreciate the way that it balances comically huge stakes with much smaller, more personal stories. for example, the conflict between mob and reigen in season 2 is especially well-done. in general the emotions just feel so real? characters whose emotions tie into their powers are an excellent trope, and mob is a wonderful protagonist who exemplifies this really well.

finally, on a more critical note—there are so many characters in this show! and it feels like only a handful are fleshed out? however, this may be due to the fact that it’s not an adaptation of the entire manga (which i haven’t read). there’s a lot more to go! more characters to dive into! so i probably shouldn’t try to critique it in the same way as a finished work.

demon slayer / kimetsu no yaiba

pitch: demons kill a boy’s family and turn his sister into a demon, so he decides to try and figure out a way to turn his sister back into a human. what follows is a demon-killing adventure that’s in equal parts harrowing, poignant, and hilarious.

stands out for: there’s not much i can say about this other than “please just take a look” but the art and design is phenomenal. it does a much better job of integrating 2D and 3D than a lot of other animated series, and overall it is just so so pretty! all the character designs are complex, memorable, and fit the characters perfectly. the color choices are interesting and satisfying. i also really like the sound design? not often that i notice that in a show. i’ve watched so many KNY amvs by now lol it’s just amazing animation

criticism: the narration style leans too heavily towards tell instead of show. this is mostly an issue with the first few episodes, but i got super annoyed by how much the show would narrate every single one of tanjirou’s thoughts instead of letting us infer those thoughts through his actions and reactions—the latter, i think, would have been more emotionally impactful. sometimes silence speaks louder than words! tanjirou was also not the world’s most compelling protagonist in my opinion, though i think that mostly has to do with my own tastes.

favorite character: *holds up zenitsu* I Just Think He’s Neat. i actually kind of lost it when he first used his powers, like… damn i love characters with weird relationships with their magic like that. i also think the narrative about how having a solid foundation is sometimes more important than knowing a ton of different moves was really powerful. and he’s just funny! pathetic boy i love him

favorite arc: really just the whole spider arc. fucked up man… i love it. they pulled off that last twist so well, and all the family stuff was so weird and complex and emotional…

other commentary: it’s just a really solid and very well-written show! the team of tanjirou, zenitsu, and inosuke is so much fun… bro bonding :) i also quite like the horror elements; it’s fucked up but in a good way. finally, this is very specific, but the demon that can alter buildings/rooms through drumbeats? appealed to me very much. it’s a cool and unique power!

fullmetal alchemist: brotherhood

pitch: two kids do some fucked up alchemy and end up getting parts of their body stolen by god. now they’re on a quest to get their bodies back, but find themselves wrapped up in crazy government conspiracies and alchemy more powerful than they ever could’ve imagined…

stands out for: plot. by this i mean less overall concept (though the overall concept is pretty great too), and more that the pacing and progression of the story is extraordinarily tight. for the most part (the first few episodes are a little weak but i’ll let it slide), it does an excellent job establishing its premise and building on it logically, adding layers and layers that extend naturally from what we already know. everything has a reason for happening; everything is revealed in good time and all the twists are super satisfying. there’s great balance between exciting moments and quiet moments. it’s just very good at being a story!

(fun fact: i’m reading the manga right now and so far it’s even better paced than the show, which is super interesting! it’s especially good at how it lays out pieces of the backstory and then fills everything in later in a really satisfying way.)

criticism: this is incredibly specific but it’s what comes to mind as something that bothered me: winry’s character arc was really disappointing. for most of the series she’s a pretty strong character, but in the end it feels like she gets pushed aside, defined only by her relationship with ed. what happened to her wanting to take action more? that was a specific desire she expressed��wanting to be less passive! since she’s such an important character, i wish she could have had more presence in the last season other than as a sounding board for the elric bros’ emotions. (even though her one scene in the last episode was really good and emotional…)

favorite character: other than the elric bros, absolutely ling. he fits into multiple of my favorite character archetypes (fun, silly, bastard, gets possessed…) and he’s just overall a delight. plus his relationship with greed is really really good. bro bonding at its peak!! (my other favorite is pride. i will not say why because spoilers. but if you know me.. you know)

favorite episode: this is really really hard to choose but i’m gonna go with envy’s death because. holy shit.

other commentary: i’m a really big fan of the complex and nuanced way in which FMAB breaks down militaristic, imperial regimes from the inside. many of the characters have done awful things, and the story forces them to grapple with that and accept that all they can do now is be better in the future. the moral complexity is just really good! characters with flaws—we love to see it!

finally, parts of this story seem so so catered to Me Specifically that it’s no wonder i got so into it. like just the entire premise? the way that so much of the conflict is built out of identity crisis and exploring the nature of consciousness and human vs inhuman? beautiful. i love ed and al so much

if you made it all the way to the end, thank you so much for reading!! glad to have finally gotten this done (3 months late…) and put all my thoughts down. i hope this inspires someone to try watching one of the shows i discussed!

#avatar the last airbender #mob psycho 100 #kimetsu no yaiba #fullmetal alchemist #my post #long post #then for my own tagging purposes..#atla #mp100 #kny #fmab #i really hope some people read this! i put a lot of thought into it

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thegirlwholied · 5 years ago

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ten faves

Rules: name ten favorite characters from ten different things (tv, movies, books, etc.).

Thanks for tagging me @bibliophileiz ; exactly the sort of distraction I both needed (and that my current concentration-level is capable of) at the moment! Hard choices ~ especially as many of my favorites come in pairs! ~ but my top ten today...

...after draft error #97 or so, sorry in advance for the scroll, and for anyone else who winds up responding, do not draft on your phone take my word for it...

Princess Bride: Inigo Montoya

Which character don't I love in Princess Bride? Even Humperdink is such a pitch-perfect villain. But while I'd choose Westley if I was picking a date... Inigo's the one who captures me, every time. It's not the desire for revenge itself that's compelling; it's the love for his father - the heartbreak, the dedication, even the defeat and the rise again (the "you told me to go back to the beginning scene" comes to mind as one that stays with me and is probably a huge influence on things I think of but haven't really written yet...)

Harry Potter: Sirius Black

Yes, that's a gif of Midnight Mark from Pirate Radio, because I very much mean the book version (sorry, Gary Oldman!). Is anyone following me surprised by this one?

I'm so fascinated by all of the Marauder era characters, both as they are on the page and the hinted-at aspects of them explored in fandom; love Lily/James... but Sirius is the Harry Potter character I think of first (honorable mention to non-HP Edmond Dantès, as I love Count of Monte Cristo and think much of Sirius' plotline owes that a clear debt). Aside from being a tragedy, aside from all his great lines, what a *fascinating* character and twist, in a way, on the fairy godmother plot in his first book 3 appearance (getting Harry the Firebolt, his permission slip, etc). I could say SO much more but will avoid writing an essay.

Smallville/Superman comics/adaptations: Lois Lane

Always a favorite character for me, but Erica Durance in Smallville is my favorite version. I feel like they gave her a bit of Marian Ravenwood (specifically in the outdrinking the frat boys scene) and leaned into the modern comics "army brat" angle so well.

Anne of Green Gables: Anne Shirley.

With honorable mentions to of course Jo March, other fellow aspiring writer Emily of New Moon, and Pippi Longstocking, other fun redhead of my childhood reading... Anne, and all her drama and dreams and mishaps, wins out as most relatable for me. Book heroine of my heart.

Speaking of childhood book heroines...

Star Wars: Jaina Solo.

Look, this is partly to save me between picking a favorite between Leia and Han (a dilemma which has haunted me since childhood, in part because, guiltily, it's Han), and serious honorable mentions to Mara Jade and especially Jyn Erso here... but Jaina was *everything* I wanted in a heroine as a girl. We're talking about the Young Jedi Knights series here... though I actually started with Junior Jedi Knights featuring Anakin Solo (oh Anakin Solo 💙💔)... going into the New Jedi Order, as I stopped following the EU so passionately around there.

Jaina, who is brash and so her father's daughter but has a harder time seeing she's also her mother's, the Rogue Squadron pilot, the wielder of a purple lightsaber, the mechanic... my inner little girl will never quite forgive the sequels for failing to give me a Solo daughter (sorry, Rey; I still think Daisey Ridley was pitch-perfect Jaina Solo casting... and honestly part of me considers the sequels the "weirdest Jacen & Jaina fan fiction ever" 🤷🏻‍♀️)

BtVS (out of the whole Whedonverse really): Buffy

My other favorites in the show are really also doubles/foils for Buffy: Cordelia Chase & Faith. But the first episode of the show I ever saw was "Anne" and so I've always known I would watch an entire show with just Buffy (... I would also watch an entire show of her friends dealing with her absence, but that's more about *plot* than character). I love the concept alone of Buffy's character - overturning the blonde damsel in distress trope by making her what monsters fear - but I mostly just love her; favorite Chosen One ever. “No weapons, no friends, no hope. Take all that away, and what's left?"/"Me."

...and now it gets very hard, where my early choices were more instinctive and now I keep thinking of others and can't decide. Tempted to make a bracket (I feel like Sirius and Inigo have some crossover, but how could I put them against each other)?

But ("if you had to choose, if you had to choose") to get at some of my other favorite character types and embodiments thereof...

2010-me would never believe I'm going to say this, but: Jaime Lannister.

I'm usually not a villain girl... but of course, he isn't a villain, though he starts out cast in that light. Slightly annoyed I’m picking Game of Thrones (yes, even grouping the books in that, as post Storm of Swords, I remember thinking "this could really benefit from the tightening the show will likely give it" ahahahahahahaha whoops). And yet. Where did that "came for the Starks; stayed for the Lannisters" quote come from? I feel very attacked by it.

"The things I do for love". The boy who wanted to be Arthur Dayne and somewhere along the way became the Smiling Knight. The reveal that he's not (or at least so much MORE than) who he seemed : perhaps not the comparison you'd expect but ah yes that Mr. Darcy twist always does it for me. So much character development (let's not speak of how the show ended, but still).

The motives, in particular: I love the Spike backstory reveal in Buffy the Vampire Slayer’s Fool for Love, and in many ways I think Spike and Jaime hit the same note for me. He’s definitely a character that stays with me. Also, he hits that "golden boy" type I also like but in a *very* interesting way (and oh no now mentioning golden boy is making me think of Aron and Cal in East of Eden, I don't have room to even consider them on this list but know I love them both...)

Speaking of golden boys (also I cannot believe this is the only character from a musical I'm choosing, and Eponine’s a character that haunts me too, but...)

Enjolras.

Michael Maguire is not a golden Enjolras but was my introduction to the character and still a (the?) favorite. Love both book & musical Enjolras in different ways. But inspiring idealists with the light of rebellion abalaze in their eyes...? Facing death & despair still waving the flag? Ah yes. Top ten, 10/10.

Favorite detective out of all mysteries really, but especially from the Nancy Drew & Hardy Boys Super Mysteries: Nancy Drew.

An icon. Why is it so hard to have a good Nancy Drew adaptation? (The new TV series lost me with going with actual ghosts - I love my supernatural shows, but I don't need that with Nancy Drew.) Detective characters tend to be some of my favorites; honorable mention to Shawn Spencer from Psych here, but I was reminded in watching that recently (as Maggie Lawson, Jules on Psych, had once played Nancy Drew in a Disney movie! ... that I need to find and rewatch as I remember almost nothing about it) a) how much I love a good mystery and b) that Nancy is the OG.

Speaking of icons... out of all the folklore & mythology I love, it’s clear what character I love best: Robin Hood.

Oh, I love my Arthurian knights, but I love all Robin Hoods more. Trickster heroes, rob-from-the-rich-and-give-to-the-poor-justice, true love... cheeky 1952-movie Robin Hood is my favorite - both favorite Robin and favorite Marian, and their childhood-friends-to-lovers romance is the epitome of that trope for me! - but I also love the fox version...and am very alarmed at the prospect of a CGI remake of that; I'm sorry but that is not live action... and also Errol Flynn! It has to be Robin. If this was a ranked list (it’s not) he’d probably take #1.

My ten slots won out to other characters, but also I love every Tamora Pierce character and if I had to pick one, it would be Daine Sarrasri, YA fantasy heroine out of all magical girls (and yes over the lady knights; sorry Alanna and Kel; Daine had wolves for friends). Also shout out that I love a LOT of characters named Marian, aside the already-mentioned Maid Marian -- Marian Ravenwood (& Indy!), Marian ‘the Librarian’ Paroo (& Harold Hill!), X-Men’s Rogue (usually named Anna Marie when a name’s revealed, but a Marian in at least one version, & her own thief Gambit)... to quote Thin Man, “You got types?”

I’ve got types.

If you’re reading this and have types yourself, please @ me them! But tagging, if you’d like, @conniecorleone @aliform @aurorawest @vivacephoenix @justkeeponthegrass

#top ten characters #robin hood #buffy #jaina solo #jaime lannister #enjolras #inigo montoya #sirius black #nancy drew #lois lane #anne shirley #i feel like this says a lot about what i love really #if you would have liked a tag and i did not I am sorry I was going to try to tag a full ten folks #switched from phone and then my computer crashed #so this is it #throwing up my hands #and posting the darn thing #¯\_(ツ)_/¯

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villanevest · 6 years ago

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"I Can Help You": the Build-Up to & Significance of 2x07's Villaneve Sex[ish] Scene

of COURSE i am going to write about this. before we get started though, i wanted to tell you all that while @villainever is still running, i will be mostly posting from my brand-new primary, @villanevest (this blog). so follow me for the same stupid memes, and check the "villanevest writes" tag if you're interested in more of these essays :D alright. now let's get going. killing eve is an extremely versatile show, and that's absolutely a credit to the writers being willing to follow the characters and their relationships, which allows the narrative to develop in a simultaneously organic and deeply compelling way. the greatest complexity of the series is also its primary draw: the dynamic between villanelle and eve, and its evolution. in this mini-essay, we're going to step through why -- I believe -- the construction of the sex scene as two separate but synchronised encounters is the best choice for killing eve right now, and how they've accelerated towards it since the pilot. from the beginning, villanelle and eve have been all about parallels. the first time we see villanelle in the ice-cream shop, she's spaced-out, bored, a vacant observer. the first time we see eve, she's asleep. these scenes are very deliberately presented to us, one after another: here, we have two women who feel displaced and alienated. neither of them is lonely, not exactly; they have people in their lives. what they lack is real, significant passion, something beyond the routine -- for villanelle, that "routine" is a lot more dramatic, certainly, but nonetheless, they're both numbed out, but until they meet each other, they're not really aware of that.

and then we have that moment in the hospital bathroom. it's not a coincidence that they're standing in front of a mirror, confronted with each other, and themselves. the composition of this visual directly implies that villanelle and eve are not just alike, but inherently complementary. in many ways, eve is a reflection of villanelle, and villanelle is a reflection of eve -- that is, opposite, but also identical. it's not until later that they really understand the importance of this two-second conversation, but it's the first breath of an obsession that will span continents and become literally life and death.

eve and villanelle discover each others' real identities at the same time, in a montage that draws focus again to these similarities between them and their experiences. but this is when their respective trajectories towards each other begin to progress separately and distinctly. the reason for this is that while villanelle is unquestionably the "cat" in this cat-and-mouse equation, at this point, she is also the one being chased, and eve is in pursuit. for most of the first season, villanelle has more information about and power over eve than vice-versa. for eve, who still has niko, she is seduced into the thrill of villanelle through that prescribed pursuit, and for a little while, that's enough for her. but villanelle doesn’t have such a set structure, and -- once she knows eve's name and eve's face -- almost immediately begins seeking out copies.

the first copy she constructs is herself, signing in as "eve polastri" while working in berlin. this is mostly a stunt to get eve's attention -- the first of many (amsterdam, anyone?) -- but it compounds on 1x01's thematic suggestion of their compatibility. the second copy, however, is perhaps the most blatant example of this: the woman from the tour group who sleeps with villanelle in 2x03. villanelle tells her she "loves her [American] accent", and gets her to take her hair down, and then goes on to actually call her eve.

villanelle's interest in superficially recreating eve fades fairly early, after eve gets out of the car to confront villanelle when villanelle is absolutely armed and definitely dangerous, for no apparent reason other than she wants to. villanelle scares her off with a warning shot (even though she could've very easily killed her at this point), but then doubles back the next episode, with the kitchen sequence from 1x05. villanelle says she "just wants to have dinner with [eve]", but i think this evening really exceeds her expectations. prior to this, she was very interested in eve, obviously, but after it, villanelle's infatuation becomes both more significant and more mature, and so does eve's. they've got chemistry when they're together, not just in the tension of being apart. BUT. so, so much of their story is spent apart. season one is a blur of glimpsed profiles and silhouettes, with only the bathroom, the kitchen, and finally villanelle's apartment providing them sites to briefly interact. at the end of 1x08, villanelle tells eve, "i masturbate about you a lot", but eve denies doing the same, which is probably true, in the sense that eve still believes she doesn’t (actively, at least) consider villanelle in a sexual way. then season two picks up, and they're apart again. only they're less apart than they were before. villanelle is right when she assures gabriel that eve stabbed her to "show [her] how much she cares about [her]". while it was barely premediated, and i don't think eve necessarily viewed it as a confession, it absolutely is; a confession of who she really is, and that that person is irrevocably linked to villanelle. in stabbing villanelle, eve puts the first truly irreversible crack in her façade of normality; she can't go back now, not all the way. the show doesn't really linger on this, though, because it's so obvious that eve doesn't WANT to go back. as reticent as i am to quote shakespeare, i will make an exception for this case, and take utterly out of context the line, "these violent delights have violent ends". for eve and villanelle, they need the violent delights and violent ends alike; sex and destruction and obsession and pain are integral to their characters. why? because i think such extreme emotions and acts break through that nothingness, that fugue villanelle talks about in 2x06.

and so the stab wound -- which villanelle proudly shows off to niko in 2x05 -- becomes something of a pact between them. to eve, it means villanelle affects her strongly enough to push her out of herself (except really, into herself), and to villanelle, it means eve can exist in her world, can challenge and surprise her, can interrupt the boredom with these bright spots of total involvement and utter fascination. and since we’ll be talking about parallels later -- in 2x02, villanelle caressing her wound in the bathtub is juxtaposed with eve tracing the heart carved into the train table. i think a “carved heart” is pretty much the wound is, too. from the pilot, villanelle and eve's relationship is an intricate dance of towards/away, together/apart. over the story, over each direct and indirect crossing of their paths, they become more towards, less away; more together, less apart. after season one, particularly 1x08, they have this permanent and indelible connection. but they're still consistently positioned as unable to reach one another. villanelle calls MI6, but they won't send her through to eve. eve arrives, but misses villanelle, and villanelle watches through the transparent but very real barrier of the car window, literally passing her by. then we have them separated by only a door in 2x03, and so many other instances of close-but-not quite.

it's worth bringing up at this juncture that while the villaneve plotline is happening, villanelle and eve each have their own individual character arcs, so while they keep glancing off each other and being torn apart in practice, they are steadily gravitating to a middle ground mentally and emotionally. i'll come back to this idea. in 2x05, we have yet another mirror/reflection, as the kitchen scene is revisited. having this reunion in the same setting as their first foregrounds how their relationship has changed. eve isn't anxious or fearful or on the back foot. she's the one who brings villanelle to her home, not the other way around, as it was last time. she reaches out to villanelle, she's confident enough to take the pills, and she doesn't hesitate before saying "yes" when villanelle asks if eve will give her everything she wants. the "yes" is easy, because whether eve is quite ready to admit it or not, what villanelle wants is what eve wants.

then villanelle helps eve with the ghost, and going forward, they're able to regularly collaborate, in their own off-beat fashion. so after 2x05, villanelle and eve are more or less settled as fixtures in their respective lives. there's still the dance, but there's no real chase. they've drawn abreast of one another. they've caught up. and this is where we circle back to the idea of copies. like i said, ever since eve has been real to villanelle, copies have been insufficient. but she still can't have eve, not entirely, and not exactly how she wants, so she escalates to proxies. in 2x06, villanelle mouths, "ready?" to eve, right before pushing amber's bodyguard in front of the truck. i'm not trying to imply that villanelle wants to push eve in front of a truck -- but as i said earlier, villanelle and eve intersect at this overlap of violent delights/violent ends. sex and death. she asks her Copy Eve in 2x03 "ready?" in just the same way. villanelle is demonstrating her faith in the depth of their connection in the extremity of her actions. she's proving to eve that they're for-better-or-worse now. she's not afraid that killing someone right in front of eve will drive her away; she knows it'll suck her in.

so what's the significance of the shift from copies to proxies? the copies were for villanelle -- a stand-in so that she could act out her desires. it's much more reflective of the "i / it": if someone looked like eve, then it was almost as if she had the real thing, right? but her affection for eve mutates into something much harder for her to manage, and "it" very quickly becomes "eve", and she can't produce a facsimile that can hold a candle to "me / eve". but the proxies aren't for villanelle, they're for eve. if villanelle's not allowed to touch eve yet, then she's using the proxies to say, "this is how much i care. this is how much i want you." and on a subliminal level at least, if not a conscious one, i think eve interprets it that as such. then, finally, we get to 2x07. we have a repetition of the phone call from 2x02, and just as carolyn played eve the recording of villanelle's MI6 call, villanelle listens to eve's voicemails. in this instance, they haven't missed each other. they're already together. the "9 missed calls, 3 voicemails" are an overture across space, but not across distance. this is about breaching an emotional gap, not a physical one. eve and villanelle are around each other often now, but it takes their being apart again to highlight just how much that proximity has allowed them to evolve.

in the restaurant in rome, we again have the visual of eve reaching out, villanelle catching her hand, and them meeting in the middle. which brings us to The Scene. it follows villanelle's crucial conversation with aaron (which I wrote about here), and that gives her a last little push. note: we have to remember that the bug that eve is listening through is only one way. while this might seem like a let-down, in that villanelle couldn't hear eve, i think it's actually really significant. because it shows how well villanelle knows eve, how much effort she puts into understanding her, and how easily she remembers things about her. in 2x06, eve was interjecting via the comms throughout almost the entirety of the aaron-villanelle-amber dinner conversation. that and the voicemails exemplify eve's involvement and propensity to hover, which is a result of her natural controlling tendencies, and how consumed she is with villanelle. so even though villanelle had no way of knowing that eve was listening, she knew anyway. she was sure with no feedback or guarantee. i love how they set this eve/hugo encounter up during previous episodes. it's something of a checkov's gun situation -- that is, the principle that if you introduce an idea (e.g. hugo's sexual interest in eve), then you need to bring it to fruition. what the writers did so well, though, is that we thought hugo had already served his purpose as a romantic/sexual option -- when he leans in to kiss eve in 2x04 and she doesn't lean away, we have evidence of how little commitment she still has to her marriage. but now he becomes eve's proxy.

so why have eve hookup with hugo, and not villanelle? well, there are a lot of reasons. firstly, eve and villanelle having sex, or even kissing, would be a very significant development for the show, and have massive implications for the narrative. as a result, it would need a lot of build-up. the circumstances would need to be perfect. while eve is no longer shying from her attraction to villanelle, i think a mixture of adrenaline and tension would have to reach terminal velocity (probably by introducing an external stressor, like a fight or escape) for eve to actually step over that line. i don't think that, at this point, it's something she'd do with a perfectly clear head. she's too aware of how precarious the current balance is, and probably (quietly) also too afraid that giving in would mean villanelle's obsession would have closure, and thus die off. the episode just didn't have the minutes to generate that situation, and the plot didn't give an avenue for it.

secondly, it gives the writers a lot more room to play with the respective aftermaths. this way, they get to bring in

1) a fallout of some kind between hugo and eve. hugo's been very laissez-faire all season about sex, about boredom, etc., going on about how he understands why eve took the job at MI6, and her interest in villanelle. but until this point, it's been pretty much all fun and games, all james bond for hugo. and then he's going to have this moment where he realises he and eve AREN'T alike. he's a good-time guy, a bit selfish, and smart enough to need an entertaining career to keep stimulated. eve? it goes SO much further than that for eve. she really is on that sociopathy/psychopathy spectrum, and she needs this to feel awake, to feel anything. in their sex scene, their dynamic flickered into an "i / it" for eve, because hugo as a person didn't really matter at all. he's going to see the exact scope and depth of eve's obsession, and he'll realise she's gone beyond where he can follow. first niko, then hugo -- they're both ferrymen who tag along for a piece of eve's journey, but ultimately stay behind. they give an important reference point for the audience; they act as thresholds we see eve pass -- here, something niko can't condone; now, something hugo won't do.

2) the no-morning-after for villaneve. this doesn't relieve any of the sexual tension, it ratchets it up. like the stab wound, this connects them, but it doesn't resolve anything. the writers now have so many options: maybe a little awkwardness from eve (unlikely), intensifying chemistry (very likely), perhaps denial, or a desperation to get alone and take things to the next level. this didn't close a door, it opened several. they'll be able to draw villaneve out even more, and they'll neatly sidestep both audience expectation and television tradition. it's their game now.

here, hugo also has metaphorical signifiance -- he's the human cost of villaneve. over the course of the show, bodies, careers, and relationships have all imploded to get villaneve even just close enough to touch. villanelle and eve are using hugo directly just as they've indirectly used many others. note: symbolically, as well, villanelle is in eve's head. this feeds into the notion of obsession -- since the pilot, villanelle has consumed eve's thoughts, and now she's actually there. finally, above all, i believe this encounter perfectly fits the current phase of their relationship, and its evolution. it's the culmination of copies and proxies and distance. like i said, that apartness is just as critical to villaneve as the togetherness. they are as made of their negative space as they are of their lines and colours. and here they are: after pretending different people are each other, after being pressed together but stepping away again, after using others as mediums to express themselves, after being chased and caught, lost and found. here they are: together and apart at once.

not only is this thematic, it's romantic, in its own twisted way. fifteen episodes later, they are even sharper reflections of each other than they were when they met. they're in sync even with such little communication, and that stands in contrast to their additional relationships. niko and eve could be in the same room, talking directly, and be less connected. and that's kind of tragic -- that eve went through so much of her life NOT wide awake, that niko spent years with someone who wasn't really WITH him. villanelle and eve are all hot and cold, entirely comprised of extremes, because that's what they NEED to feel alive. villanelle says in 2x06, "like us, you mean". and that's exactly it: fundamentally, villanelle and eve are the same kind, and that's why they are so good together. it's how they stay so good apart.

will these violent delights have violent ends? unquestionably. but those ends will be new beginnings. eve won't go back to sleep. villanelle could never cope with being bored again. they'll push and pull, fight and fuck, get mad and get in deeper, inextricable. they'll keep chasing the delights and weathering the consequences, getting wilder and wilder until something happens that they can't shake off or walk away from. but that's how they are, that's how they're happy, and that's the only way they can be.

i hope all this held together! I had a lot of thoughts and it was hard to compress into one short essay, so I know it seems like a lot of disconnected threads rip. as always, reply/ask/message me with ideas/requests if you have something you want me to talk about! thank you to everyone who has commented nice things on my previous posts; it makes me want to write more and it’s nice to know someone’s reading :D

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evakuality · 6 years ago

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They probably want clarity as well: Communication in Druck s3 (part six)

This is the sixth and final part of my discussion of the theme of communication in s3 of Druck. You can find the other parts here:

You look good tonight: Communication in Druck s3 (part one)

Make a clear statement, straight up: Communication in Druck s3 (part two)

He doesn’t talk to me: Communication in Druck s3 (part three)

Do you want to talk to me? Communication in Druck s3 (part four)

I want to tell you so much: Communication in Druck s3 (part five)

I got really caught up in all the Abi stuff this last week and so didn’t get this finished. Whoops. I mean, it was worth it, and you know, I’m here finally with the last part of this communication analysis of mine. The analysis that was supposed to be one or maybe two posts long. And yet here we are, six posts later and we’re finally finishing. Anyway. Episode ten. The one where everything comes to a nice conclusion in terms of communication. The old reliance on nonverbal communication has dissipated somewhat (though there are still heavy traces) and actually communicating verbally is suddenly ‘in’ for our lovely characters. Well, for some of them.

Of course, having said that nonverbal communication takes a back seat, we go right into a situation where nonverbal communicating is rife. In the first clip, Matteo and David know exactly what they’re doing, why they’re doing it and there’s no discussion. Out loud, anyway. It’s actually a really lovely moment, as consent is sought and given multiple times without having to verbalize it at all. It’s a very good example of how you can make consent work naturally and organically in these moments. One nice thing is the way it calls back to the conversations around Carlos and Kiki and how she wanted sex and he didn’t know, and the much more obvious parallel with Sara and her attempts with Matteo in which his nonverbal signals clearly shouted out a huge ‘no’ and which she didn’t really deal with very well. Her insinuations later (via the messages, I think, which I did swear not to talk about but which seem relevant here) that he was ‘weird’ during their intimate moments and so must be gay are so hmmmm. Consent, wanting sex, asking for it, checking in on your partner about it. These are all important things that should actually be communicated clearly and openly before you get into these situations and the casual assumption she makes that if he doesn’t want it sprung on him out of the blue it must be because he’s gay is so dodgy. Still it does serve as a nice counterpoint to what happens here. The fact that earlier in the season communication around sex was so bad (neither Kiki and Carlos nor Sara and Matteo managed to approach it well), just makes this moment here stand out more. We don’t see them talking about it but it’s clear in what they do and how they act that they are both willing and that they probably talked about it before they got to David’s place that night. The discussions in this season about how you navigate the delicate issues of sex and consent are really fascinating and I could probably write an entire many-thousand-word essay on it, but I’ll leave it there for now.

The only time they do actually speak in this clip, the apparently untranslatable nervous/excited comments, is nakedly honest. Not only is it honest, but it’s accepted and treated with understanding. The communication underlying the words is ‘I need to take this slow’ and there’s an innate understanding and acceptance of that need, a willingness to listen to what is being communicated rather than just spoken. And that’s pretty much where Matteo and David are in their relationship at the moment. It’s all out there and all on the line. ‘I love you’ is felt and has been expressed by both. They’re secure and content now, and in fact any secrets they may have had are now completely gone. Not only are they open and honest with each other but they’re also open and honest with the world. Matteo wasted no time at all in shouting his feelings to the entire world via his instagram. Indeed, he hasn’t stopped. He’s come a long way from the start of the season when he was so careful with everything and hid his true feelings behind his memes and his casually isolationist attitude. Even from more recent times when he posted cryptic things that literally only David would understand. He’s quite at ease communicating openly and honestly about who he is and who he loves.

Obviously, we then move into the next morning where there’s more open and honest communication happening. The thing here too is that we’ve been set up throughout the whole season for this point. From the beginning these two have been more willing to be vulnerable and open with each other than with other people. And that still holds true. We don’t see them have these deeply personal conversations with anyone else. It’s highly unlikely that David would so willingly talk about his past and how he’s felt about it with everyone. He’s open and out about it, yes, but that wasn’t his choice with most other people. But even though he’s seemingly okay with people knowing, he doesn’t trust them in the same way that he trusts Matteo. Part of that is obviously because he hasn’t known them for as long or as well. But it’s at least partly because, from the first moment when David shared his art notebook and Matteo respected his boundaries around what he was and wasn’t allowed to see, David has known that he can trust these parts of himself with Matteo. That hasn’t been an easy road to walk for either of them. But that early foundation is what led to this. They have always been good at communication of the important kind, and it has paid off at this point. As soon as everything was laid out for each of them this was inevitable. Because they’ve been building to this point all along and every time one or the other shared something vulnerable or fragile with the other, the other respected it. We’ve been shown all along what good communication looks like and it’s no surprise that they are able to be so casual and easy together.

The third clip is where we’re really allowed to see the point of communication in this season. In fact, the message is pushed quite a lot. Abdi serves as a reminder of where some of our characters have been: awkwardly trying to communicate via ineffective metaphors instead of real words. He’s so clueless around how to do it that he doesn’t even pick up on what the boys are so desperately trying to tell him. In fact it’s not until Matteo and David use their words clearly that he actually figures it out at all. What’s really interesting is that in episode seven, the boys had given literally the exact same advice to Matteo who instantly took it, and for whom that was a big turning point in terms of moving his relationship forward. He’d already been good at communicating with David, particularly nonverbally but with words too, but it wasn’t til that point that he actually made a ‘clear statement’ of his needs and was therefore able to make things clear and open with David. As I said when discussing that episode, neither Jonas nor Abdi was making his own ‘clear statement’ at this point and they still aren’t. The fact that this is still the advice being given shows that they’ve stagnated. Matteo and David are perfectly in their rights to be smug here. They’re actually very good examples of communicators and these other boys are still good examples of bad communicators.

Before all this, we have a discussion around Jonas’s song for graduation and it’s really quite awkward, highlighting the differences between Matteo and the other boys. Matteo states plainly that he likes the song and leaves it at that. Direct and clear. By contrast, Carlos while clearly trying to give good genuine feedback actually offends Jonas because he isn’t reading the situation very well. Jonas’s body language and actions are of someone who’s hearing stuff he doesn’t want to. But frustratingly he doesn’t say this. He just gets up and walks away and doesn’t address it. The others try to recover once they do realise but the damage is done. Unfortunately, here we have an example of communication going awry. It serves, again, to highlight just how much better at communication Matteo has become. This sort of behaviour is what he used to do, vague comments or literal walking away or isolating himself, culminating (with this group) in him finally speaking his mind to his friends by finally having enough and yelling at them and kicking them out of his house in episode 6. It’s been shown to be not healthy, and there’s clear warning for the way these boys are communicating. Of course, this again sets us up for the ‘you could say it with words’ ‘directly’ thing. They know what they’re talking about, partly because they’ve been there and done that and realised how bad it tends to go but also partly because they genuinely have good communication skills. Matteo has had to extrapolate them out from David to other people but he got there.

Abdi and Sam is an interesting example of specifically how these characters are not good at this communication business. He says here that him not getting with Sam must be his fault and there’s some truth to that because he literally hasn’t told her how he feels. But he doesn’t work that out, instead assuming (don’t make assumptions, people!) that it’s because she doesn’t want to sleep with him. But he offered her a lollipop! And she didn’t understand it! There’s no hope! Even when he’s told to tell her he equivocates. He prefers ‘sucuk with eggs’ over actually saying he likes her. He can’t possibly tell her that directly. And it is a scary thing to do, of course. We’ve all been there where saying something directly would be the best course of action but anxiety or insecurity or whatever has held us back. Unfortunately for Abdi’s progress in getting past that here, he’s encouraged by his other friends to keep with the awkward metaphors. It allows him to slide back from the actually good advice and keep thinking that he can use lollipops etc. The fact that in the recent content, even when he’s trying to be clear and open, he takes Carlos’s terrible advice to use ‘sucuk and eggs’ rather than just saying ‘hey I like you’ shows that, while it seems to have worked in the short term, he’s still not great at communicating and things are still not clear and ‘direct’ between him and Sam. The others are no better. Jonas is making awkward attempts at wooing Hanna via song and longing looks, and that too just isn’t working. Even Carlos who’s in a relationship is (at the point where we are now after the Abi stuff) not talking directly to Kiki but rather showing passive aggressive jealousy about the people she was dancing with.

Apart from Matteo and David, these characters are still not good at this, and it shows in the way all of them are having issues with their relationships (or lack of them) even to this point. We get other little hints at the way communication should be clear in the episode too. For example, in the office when Sam blurts out that they’re there to support Matteo and David and Kiki says they were trying to keep that quiet. These characters are still trying to keep things from each other and hide behind polite fictions. It’s understandable and we all do this to some extent, trying to preserve someone’s comfort etc or put our best face forward, but again here we’re told it’s better to be open. Matteo isn’t upset they’re here and so they didn’t need to hide behind the fake reason.

The message we’re being clubbed over the head with at this point is that only genuine clear communication will achieve happiness and success. Among many other messages from this season, we are being explicitly reminded that we need to talk to each other. There is an emphasis on verbal over nonverbal by this point, but there’s still a lot to be said for clear nonverbal communication; it’s just that we’re shown several times that the nonverbal can be misinterpreted, so back up with verbal communication is important. From the positive version of this in the first clip (there is a clear verbal connection to the nonverbal even while it heavily relies on the nonverbal communication) to the much less successful version in the clip with the boys talking, this is repeated over and over. Communication, in other words, is key. Just be clear and honest about it and it will all work out.

#druck #my meta stuff #davenzi

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villainever · 6 years ago

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God, We're All Tired: Female Conflict in Killing Eve's Season One Finale

So I'm sure 1x08 has been analysed to death, but seeing as we're winding up to the end of Killing Eve's second season (sad face), I thought I'd jump in with a completely unsolicited reflection on the ultimate culmination of Villanelle and Eve's mutual obsession and pursuit. I'll kick off by saying that from the start, we knew this moment would be interesting, for a whole slew of reasons: Firstly, from the get-go, we were shown that Killing Eve was here to subvert and reconstruct; it's deeply oriented within its genre, but it's irreverent, and even what I would describe as a reclamation of spy-fi. Specifically, it's a female-led narrative taking ownership of a set of texts and tropes that have consistently objectified and excluded women by turns. From its inception, the psychological thriller genre has delighted in a) withholding women's agency, and killing/torturing/assaulting them, both to shock viewers and to lend pathos to the motivations of male characters, and b) revelling in their "expiration" from sexual desirability, and casting the "ailing crone" as the villain orchestrating events. Killing Eve has absolutely no interest in ever reducing its women to their component parts. There are no pedestals, and there are no pitchforks. As a show, it hits all the golden points of suspense television, and completely reimagines the rest; it's a masterpiece balacing act of keeping the classic cat-and-mouse recogniseable, while allowing Eve and Villanelle to each be both the predator and the prey.

Secondly, our two protagonists are women. Highly unusual and exceptional women -- that's inarguable -- but nevertheless, they've been socialised in particular ways. What's so fascinating here is that both have been injected with a comfort in and enjoyment of theatrical violence that's usually reserved for male villains. However, even at their most ruthless, there's an innate intimacy to both of them -- unlike, say, for example, the Joker, Villanelle's flamboyance and love affair with destruction never manifest as mass-killings or the eradication of infrastructure (like blowing up a hospital). Villanelle exacts each murder with the creativity of the truly engaged and passionate, but it's always personal and unique, usually one-on-one. She doesn't have a vendetta against the world, either; she finds beauty in it -- in ice-cream and movies and nice architecture or fun clothes. Similarly, Eve is enthralled by Villanelle's flair for the deadly and the dramatic, but it's not born out of a spite for humanity, but a sense of artistry and a consuming need for some adrenaline in her otherwise numb and mundane life. These complexities muddle their emotions and motivations, and make it difficult for even the most television-literate to semi-accurately predict their storylines.

Thirdly, Eve and Villanelle are never positioned as diametrically opposed. This in itself is not exactly out of the left field -- a lot of media with a dark focal point or mature subjects introduce heroes and villains who share key traits (e.g. Sherlock and Irene, in CBS's Elementary), or even comparable goals (e.g. Black Panther's Killmonger and Nadia both want to open Wakanda's borders). In most cases, though, the antagonist will represent some kind of seduction to the 'other side', that the protagonist inevitably resists the allure of (e.g. Andy realising Miranda isn't who she wants to grow up to be -- successful but alienated -- and goes back to her excuse of a boyfriend in TDWP). But while Eve and Villanelle are very much established as one another's temptations, we also see that they'll grant the other access to a part of the world that is, for now, barred from them: Villanelle and Eve will stop each other from being bored. They "resist the allure" not because they fear moral wrongdoing, but because they cling to their respective images of themselves -- Eve, as someone "nice and normal", who happens to have a grey area for a hobby, and Villanelle, as someone independent, in control, with no lines she wouldn't cross. Way back in the pilot, we're shown that they don't actually WANT to destroy each other. Villanelle is too interesting to Eve, Eve is too attractive to Villanelle. Yes, they pose a significant threat to their respective lifestyles, but as we've had proven, they're becoming willing to risk that if it means gaining something more. They don't reflect a sinister alternative timeline of "look what you could've been" (which is inherently hero-centric, and Killing Eve pays as much attention to Villanelle as Eve), they offer each other a "look what you could still be", that is at once dark and hopeful -- something that they've really elaborated on in this second season. But 1x08, even though it is very much the symbolic collision that is the centrepiece of all chase stories, is not their first meeting. Villanelle goes to Eve's house in the (iconic) 1x05. So why not save that for the finale? Why not build and build and have that tension released right at the end? Because, crucially, 1x05 generated more tension. The show's writing is so substantial that it doesn't worry about losing its audience after the moment they've been waiting for happens. It's one of the reasons you could have the entire plot of Killing Eve spoiled, and then still enjoy every episode when you watch it yourself: it's the How that we love as much as the What. Killing Eve takes the time and space to revel in its style, characters, and setting -- but that's another essay. In 1x05, their meeting is high-octane, and crucially, it's brief. We get a snapshot of how their infatuation and fixation translates into chemistry. And they both become real to one another. Eve's last reservations begin to fade as she realises that she can survive an encounter with Villanelle, and her sense of self -- most importantly, the subconscious idea that she's somehow special -- is vindicated (Eve's slight narcissism, and how the show makes it compelling and intoxicating, is yet another thing I could go on about). For Villanelle, Eve is allowed to be more than just great hair and a worthy threat. She's someone challenging and entertaining. What's so incredible about that first meeting is that it's proof that this dynamic isn't running on mystery and fumes. It's sustainable. They continue to appeal to one another once they're in the same room together. They appeal even more. Their sexual tension skyrockets, and the whole dance becomes extremely personal. They can't write one another off as playthings, although they largely continue to attempt that, at least for a short while. With this in mind, let's move on to that finale. Not only is Eve trashing Villanelle's apartment hilarious, and a perfect articulation of the humour/danger cantilever that makes Killing Eve awesome, but it provides a critical catharsis for the audience before the actual confrontation. By this point, the price for Eve's obsession is starting to rack up -- her job is circling the drain, Niko's dodging her calls, her self-image is blurring. Eve has a whole lot of feelings, but she's allowed to express them on her own, symbolically taking them out on Villanelle by ruining her things, which become a vehicle for venting her frustrations without actually affecting their relationship. When Villanelle does arrive, Eve's ready. This scene would've worked if it was some sexy wall-leaning, banter, and Eve surprise-stabbing Villanelle in the middle of a conversation. I think that's probably how a lot of screenwriters today would've done it, scrawling it off by rote and relying on Villaneve's chemistry and Comer and Oh's excellent acting to nail the bit. Instead, we get this civil conversation, and then they lie down together, first relaxing, and then gravitating towards one another. I don't believe that Eve knew until the millisecond she decided to do it that she would actually try and stab Villanelle. I actually gave this mini-essay a title, and it's "female conflict". That's because I think that this entire sequence wouldn't have happened in a show created by men, or featuring male characters. In violent shows, we get violent conflict. Killing Eve is unquestionably a violent show, but it's distinct from its contemporaries in that the characters aren't there to prop up the violence; the violence is there to reveal and develop the characters. But after a whole season of elaborate murder and tyre-squealing pursuit, we get this stillness. Yet, it doesn't feel for even a beat like bathos. It's absolutely a climax, and it's both suspenseful and arresting. It really illustrates that the show is about fascination: they're hungry to know everything, like Eve says. There's no performative combat. We can't guess what's going to happen because neither can they. Their obsession isn't a "this town ain’t big enough for the both of us" situation. It's a "this town is only the both of us". Their worlds are reduced to each other and they don't want to squander it with fighting, because fundamentally, Eve and Villanelle are so much more similar than they are different. Again, I say this is so fitting for female characters because they see this co-existence as an option. It's so simple, but the idea of your protagonist and antagonist sighing, "Fuck, can't we just have a lie down after all this?" and making it satisfying is incredibly radical. Because it's so personal, and intimate, and human. At every interval, the writing asks, What would we actually do at this moment? Not, What precedent has popular culture set for this moment? Too often, I think we give characters responses that we've seen before in texts, because we watched/read it, accepted it, and just filed it into our own work, knowing it's what the audience expects. But this scene with Eve and Villanelle is so heart-wrenchingly in-character. It's two people charging at each other full speed, not to hit each other but to be close to one another. And like so many other tiny beats over the course of the season, Killing Eve luxuriates in this proximity. We get to breathe. It's gentle. It's a gentle pause between two people who could utterly eradicate one another, but choose not to. It's ladden as well with such a specific but familiar kind of exhaustion, and it's an act of defiance, too. Killing Eve rejects the hegemonic (and predominantly masculine) cultural assertion that conflict (or even sometimes, in the less typical texts, debate and negotiation) is the way to resolve difference, and indeed, that difference must be resolved. That one must overpower the other. That your enemy is an alien and cannot be connected with, related to. The fact is, a lot of even this first season isn't spent chasing, it's spent running. Eve and Villanelle take an interest in each other early on, and it quickly escalates from intellectual to sexual to emotional (insofar as either of them are capable of that). By 1x05, they've caught up to each other. The rest of the time, though, they're fleeing from how much they want each other, how alike they might be. And in Villanelle's Paris apartment, they concede: I love you more than I hate you. I need you more than I should. And it's with that concession that we as an audience can experience their relaxation, too. It's what we've -- consciously or not -- been waiting for. That acknowledgement. But Margot, you say, you've been talking about how this isn't about violence -- have your forgotten that Eve STABS Villanelle, literally three seconds after this? I have not, The Only Follower Who Read This Far. So why engineer all this, and then have Eve knife Villanelle straight in the gut? Because even though they have this liminal second together, their story isn't resolved. Killing Eve goes absolutely wild with power dynamics, and I could discuss that for hours, too -- Eve is older, but Villanelle is more experienced; Eve is more stable, but Villanelle is more adaptable, etc. But generally speaking -- partially because Eve is, at the beginning, something of an audience surrogate -- the scales are in Villanelle's favour. She's dangerous, clever, has no fear of legal consequences, and has more freedom and greater resources. Killing Eve is allergic to any pedestrian predictability, so it shakes up this arrangement. In stabbing Villanelle, Eve proves to both of them what she's capable of. Prior to this, they had an impression of their similarities, but this throws into sharp relief exactly how deep those run. Eve immediately regrets the stabbing, because it wasn't about getting rid of Villanelle. She doesn't want to hurt her so much as show her that Eve has power too, has recklessness too, can keep up. This interaction isn't the product of an inability to relate, but a desperation to connect. This joins them together, affirms their relationship. Eve isn't trying to dominate her, to win, not really. She's telling Villanelle what she's capable of, and equating them. We get this confirmed in how Villanelle perceives in the stab wound as a symbol of affection (2x02, 2x05), and how Eve says she continues to think about it constantly (2x05). I believe that while Villanelle always respected Eve, if Eve hadn't stabbed her, Villanelle would've remained confident that she, quietly, had the upper hand. That if ever need be, she could be more cunning and cruel and decisive than Eve. But Eve's put them in the same ring, and also removed one major wall between them -- Villanelle's murderous side is a key part of her character, and after this, she knows that Eve isn't intruiged by her despite this, but because of it, and because it’s at least partially common ground. Eve isn't Anna (another comparison I could go off on a tangent about, but I'll spare you). In sum, I think that the season one finale was beautifully rendered, and reflected Killing Eve's appreciation of itself. It let the characters interact genuinely, it refreshed their dynamic, and allowed them development separately (Eve's new understanding of her own capacity for harm; Villanelle's new experience with vulnerability, and not being able to predict others) and together (intertwining them irrevocably, further aligning them). It's one of those rare scenes where it's completely surprising at the time of viewing, but in hindsight, seems inevitable, and you can't imagine it any different. I can't make any predictions for the season two final episode other than I expect something equally unexpected, something just as loyal to the characters and their relationship, and their capacity to embrace and antagonise each other. This essay is probably borderline incoherent. It really got away from me. I set a timer for half an hour and told myself that whatever I got written in that time, I'd post. Thanks so much for your kind comments on my rant yesterday, and I hope this is at least vaguely what you were looking for, @ the people who said they'd read another. You're my favs. If you've got something else Killing Eve-related you'd like me to yell about, let me know! Or if you want to come chat, I promise I'm friendly! I’m using the tag “#villainever writes” for this rambly stuff atm, so if I ever write another of these I’ll have a digital drawer to put it in hahah

#villainever writes #villaneve #killing eve #killing eve essay #ke analysis #killing eve analysis #villanelle #eve polastri #eve x villanelle #eve x oksana #villanelle x eve #villainever #villanevest writes

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mittensmorgul · 7 years ago

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do you think it's open to interpretation whether dean and cas are in love with each other? Like is it just as valid an interpretation to say they're not? Whenever anyone calls destiel "one interpretation" or whatever, my hackles rise. And I know I'm overly sensitive about this stuff, being a gay and whatnot, but I mean, is it? Am I just insecure because my otp isn't canon, or is destiel really more valid than other readings or what? What do you think?

Hi there. :)

I’m gonna give you the diplomatic, academic answer, and then I’m gonna give you the grumpy-ass queer lady answer. Hold on to your horses. :)

Polite answer:

All media is open to interpretation. Of course, this doesn’t mean that all interpretations are equally valid, or equally supported by canon, especially when taken in context of the entire body of the work in question.

For example, I replied to a post the other day about 13.17, and that scene where Dean and Sam are-- on first glance-- rather disrespectful of the extremely rare and valuable books in the bunker... but in context of the rest of the episode and the rest of the season, that montage wasn’t about disrespecting those books at all. It had less than nothing to do with the books themselves as objects or as sources of knowledge that should be properly cared for and respected. But out of context it kinda looks that way. So, based on that one short gif set, it might seem like a perfectly legitimate interpretation to suggest that Sam and Dean were careless with the immense knowledge and invaluable books they’ve found themselves in possession of. But in the larger context of their entire history, of all their interactions with the bunker and the untold store of knowledge it holds, and with the context of the specific reasons for their frustration in that particular scene, it seems obvious that there’s a lot more to the story, you know?

You could technically argue just about any weird headcanon can be supported by canon. I wrote this weird little post right after 12.11 aired, and it sat in my drafts for a good long time before I finally posted it. But there’s nothing in canon that legit quashes the possibility that endgame fish!Cas is where the story’s been headed all along. He’s positively swimming in fish metaphors. (sorry, I couldn’t resist) Does that abundance of fish, fishing imagery, and water imagery that have surrounded Cas for years lend itself to a literal interpretation? I mean, it’s definitely AN interpretation that is there if you want to see it, and if in your heart of hearts you believe it’s legitimately what the storytelling is attempting to convey here. But does that make it a valid interpretation that deserves serious consideration? Does it truly make sense when taking the larger story around Cas as a whole? Or is it obviously a literary theme that we’re supposed to consider through the themes traditionally associated with fish and fishing as used in countless other fictional works of the past? I suppose that sort of interpretation has been left open for us to take or leave as we see fit. It invites us to examine those references more closely, to help us understand Cas as a character and the journey his personal character arc is taking him through. It gives his experiences and growth a depth of context that is there to explore if we so choose.

(for more on Cas vs Fish, please see my tags regarding “The Fisher King.” I like to think there’s a more well-reasoned and logical line of thinking for pinning so much fish to Cas than my cracky example of fish!Cas would suggest.)

Now, looking at destiel specifically, if you take any single moment out of context, it’s absolutely possible to make an interpretation that their relationship is clearly more “brotherly,” or clearly more “familial,” or clearly one of “very close friends.” But it requires the same removal from the larger context to explain away what taken with the entirety of their history begins to look entirely undeniable.

I suppose, since Supernatural is an open canon and the story hasn’t been fully told yet, that it’s possible the writers could change course with the storytelling. It’s possible that something might prevent them from taking Dean and Cas and their story to the conclusion they’ve been building to for the last ten years. They could decide to leave this particular “interpretation” open-ended and unresolved.

Since that is always a possibility, and because I’m not psychic, nor do I have any top secret inside information from the writers and showrunners, I can’t say that my particular interpretation is more valid or correct or likely than anyone else’s. But I have yet to come up against a credible, coherent explanation for the entire body of extant canon that invalidates my particular interpretation, either.

The vast majority of arguments against boil down to logical fallacies-- cherry-picking scenes out of context as “proof,” straw man arguments, and ad hominem attacks. Because of this, I’m content to wait for canon to play out. I’ll happily watch the rest of the story unfold, and happily continue to interpret what I’m witnessing as a whole instead of attempting to dissect it out and explain away what I see as an entirely logical progression of storytelling.

As an aside here, I find it entirely fascinating that one of the most common complaints I read from people who deny Dean and Cas are in love is that the writing has become progressively more terrible, that the story of Supernatural as a whole makes less and less sense, and that the characters are behaving in increasingly “out of character” ways. And as someone in possession of rational capabilities, I wonder if their disconnect from the storytelling is simply their refusal to see and accept that perhaps their “interpretation” of the story is just... not correct.

When we attempt to deny or rationalize away certain interpretations of characterization, or certain progressions of events and how they relate to one another, the larger narrative just falls apart, you know? Of course it doesn’t make sense if you exclude large portions of it because you don’t want to see it or believe it’s happening, or important to the story.

Meanwhile, I’m over here loving every minute of it (okay... most minutes of it). So even if my interpretation isn’t absolutely 100% “correct” (and really, with any media, there’s always different ways to interpret everything, from what the color of the curtains might imply to who’s gonna get to fire Chekhov’s Gun in the third act), I’m content to continue to interpret it in a way that not only makes me personally happiest, but in a way that makes the story itself seem both logical and entertaining, as well.

Okay, that’s the end of the rational portion of this essay. Now on to the angry queer lady portion:

There’s more canon evidence for Dean and Cas being in love, or at the very least caring for one another to ridiculous, rather mind-numbing degrees, than there is for practically every canon heterosexual couple on television in the last fifty years. Think of any slow burn, will they-won’t they hetero couple, and do the point-by-point checklist of all the tropes they burned through before they got to the love declarations and the kissing and the happily ever afters (or worse, the dramatic breaking up and getting back together, or even worse, the tragically breaking up forever). I challenge anyone to name one hetero-presenting couple who required as many love tropes for audiences to recognize and acknowledge they were in love. Yeah, I’m thinking of that whole “they shared a pencil” post.

So yeah, there is likely a measure of heteronormativity to it, and a lot of the arguments against also devolve into rather gross denouncements that there’s no way Dean’s not straight, because he said so that one time... Mr. “I lie professionally” who also never actually said he was straight... gah... I’m not gonna dig up every ancient meta post on the subject. If anyone is legitimately interested in understanding why making those same tired arguments just doesn’t have any legitimacy in a reasoned discussion, they can damn well do their own digging. It’s not like any of the evidence is difficult to uncover, and it’s not my job to spoon feed it to every naysayer myself.

I feel like I’m standing on a Mt. Everest size pile of rational, reasonable, well-argued analysis supporting the claim that Dean and Cas are in love. *stands back and points at my whole entire blog again* If anyone would like to come back at me with something even remotely worth my time and attention to persuade me to alter my interpretation, I suggest they get busy. I’ll just be up here on top of my mountain enjoying the clean, destiel-scented air up here.

And finally, who says it’s not canon? Ah, right. Moving goalposts. At this point, I think it’s ridiculous to suggest that Dean and Cas don’t love one another. And profoundly, at that. I mean, you don’t give up an army for one guy if you don’t at least like him a lil bit. You don’t shout down God begging him to bring back that dude you’re kinda buddies with, or sink into a suicidal funk that reverses completely within minutes of finding out said buddy’s alive again. You don’t offer to march to your death with your chum because he’s such a nice guy and all. I mean... honestly. How far in denial does someone have to be to suggest they don’t love each other? At this point, when comparing Sam and Dean’s reactions far into s13 to Cas’s death in 12.23, either you accept that Dean has much stronger and far different feelings about the loss of someone that Sam does love and considers a brother, or else you kinda have to assume that Sam’s just kind of a dick for not being as broken up about Cas’s death as Dean is. So... which interpretation do you think is the one they’re trying to convey?

Bleh, whatever. I await the inevitable inbox full of nastiness that I will cheerfully delete while judging every anon who sends it as someone who really should find a better hobby than antagonizing strangers on the internet over a work of fiction.

Anon, basically, don’t let the bastards grind you down, okay?

Now for some reason I feel like listening to Achtung Baby. Imma go do that and feel the love.

#destiel #the scheherazade of supernatural #btw for anyone who still feels the need to antagonize destiel shippers #that tag would be the one for you to find a lot of that content you'll need to actually address in order for anyone to take you seriously #Anonymous

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lobsters-on-their-heads · 6 years ago

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OB Rewatch: Gag or Throttle

The episode from whence my thumbnail image came.

My first watch review can be found here: https://lobsters-on-their-heads.tumblr.com/post/163333202396/gag-or-throttle

I loved

Exploring Rachel's character, background, and motivations. She'll never be my favorite character, but she is one of the most interesting characters.

Two minutes later after seeing young Rachel talking with the Neos, adult Rachel introduces Kira Manning to the board, wearing the same outfit, at the same age, but rather less curated than Rachel was.

Fucking adorable Charlotte sitting wrapped in a blanket with her mug of cocoa or whatever, so proud that they “escaped on a boat with only a map and compass”

I love that Rachel had a real reason to side with the sisters, in her discovery of PT's eye-cam tablet. Although maybe it wasn’t so much siding with them as siding against PT.

The steady drum/ bass beat that starts once Rachel sits in her video room drinking herself numb. Season 5 doesn’t have quite the same spot-on soundtrack as previous seasons, but this was great.

“Fell from a punt and drowned” – “probably also alcohol poisoning”

The climax of this episode takes us back to earlier seasons. There’s horror and genuine suspense, and Ledas working together.

And Kira, who can feel Rachel’s emotions, asking “Who hurt you?” and Rachel’s response - “All of them.”

Tat plays drunk so well. Finding little details fascinating, dragging the glass across her lap.

I love that Rachel ripped out her own fake eyeball, which was connected by actual tissue to her head. She will do ANYTHING to have control over her own body. I’m reminded of Leekie in Season 2 saying something like, “Rachel takes insult very personally.”

I liked

The opening flashback to young Rachel, with her almost robotic recitations of clones' tag numbers paired with picking her fingernails bloody. Although they seem to have CGI’d something onto Matt Frewer’s head.

There’s a great contrast of Rachel in this ep – vulnerable, undignified (two pelvic exams and a shot of her wiping the lube from between her legs while wearing a paper gown), talked down to – with the Rachel we met in Seasons 1 and 2 – meticulous, formal, controlling.

“Liver deep” indeed. We've seen Alison put down some booze before.

I did like Mark's “oh for fuck's sake come 'ere” man hug of his mom.

They're giving Skyler Wexler much meatier material, which is great. They're not keeping her in “cute little kid who rests her chin on her hand” land, as other shows do with their token child. She’s not the greatest actress, but they hired her at the age of, like, 6, and she’s acting opposite Tatiana Maslany, so any less-than-perfections are totally forgivable in my book.

Rachel keeps the bracelet Kira gives her and wears it for the rest of the episode!

I didn't like

S immediately busting out her handgun bundle when Sarah said they were making her wait until tomorrow to talk to Kira. Siobhan's been the calm one, as Sarah points out. It’s not the first time Dyad has taken Kira, not the first time things have seemed hopeless.

Cosima's reunion with Scott made me uncomfortable. Sure, I’m glad they had a reunion, and yes, they would be happy to see each other, but the zooming in on faces, the lingering embrace.... eh. [funny, I enjoyed this scene in my first watch]

The whole tired “married man rushes to clean the house moments before his wife gets back” schtick. I mean, okay, it fits here, since Donnie's been living totally alone and I would make a mess, too, and plus, maybe he didn’t have much notice that Alison was returning, but it’s a cliché I’d like to not see for a bit.

Alison's return. I like Alison a lot, but this isn't Alison, and this plot line doesn't work here at all. Nothing about her absence or sudden life change makes any damn sense at the end of Season 5. And she threw away her craft supplies! I mean, listen, I teach essay writing for a living, and one major point we stress is that you don’t bring in extra information in the conclusion unless it directly connects to something you wrote before. We’re in Episode 7 of 10, the final stretch, and Alison’s changes don’t connect.

I don't give a shit about Mark and Gracie. I do think the subplot of no one trying to cure the Castor men is an interesting one, but Mark and Gracie don't do it for me.

There's a lot of bouncing around / sudden scene changes / “gasp!” reveals that aren't gasp worthy.

Other notes

Interesting word choice - “our most curated subject... Rachel Duncan.”

I don't know enough about Dungeons and Dragons to know if Hell Wizard's comment about “DnD in real life” makes any damn sense.

Very telling that Rachel signs a document promising her freedom from the experiment, much like she pressure the sisters into doing in Season 1, but she thinks that this one is for real.

Canon confirmation that Leekie has seen Rachel's vagina. Or very close to it.

Imagine jerking off into a cup and knowing that you're going to be giving that cup to the woman you call your mother. The Castor men really are just as “curated” as Rachel’s been.

It took me a second to realize the implication of this shot the first time I watched it. I am not always smart.

Leekie shows real fascination and care for the clones when he discovers Rachel's autopsy of Miriam. He sees Miriam as a human being, not simply a lab rat. However, I think half of his anger towards Rachel is due to her going behind his back, not due to her “encouraging” Miriam to die.

I forgot, again, that Rachel and Cosima are played by the same person.

I am super impressed that Rachel managed to text while looking with one eye. Anyone who's received text messages from me can attest to the numbers of typos I make while looking at my phone with both eyes.

Speaking of eyes, I couldn't watch. Eyeball horror skeeves me out more than anything.

I have questions

Did Rachel believe PT’s story about his age and background? She’s pretty blasé when Sarah emails her that obit.

What is keeping Rachel's top up? I have so many questions about shirts/ dresses like this. As always, women’s fashion confuses me.

Rachel Duncan went to summer camp?!?! And had a friend!?! I need more information about this!

Were the friendship bracelet and questions about Rachel really all Kira's idea / natural personality? Did she intuit that Rachel was a good person inside? Or was it part of the hustle?

What is the issue, exactly, with Charlotte's leg? We see her on the bed with seem to be crossed legs, her brace on the bed beside her.

What the fuck happened with the revolt on the island last episode?

Why do the Castor boys all have distinct last names?

Do the Neolution symbles have meaning?

Did Coady leave Rachel's chart up on the computer on purpose? Did she want Rachel to see it?

In what room did Rachel perform that autopsy of Miriam?

So PT can hear everything too? Does the eye have a receiver, or has he just tapped her phone?

I would've liked to have seen

An entire episode devoted to Cosima and Charlotte escaping on a boat, with just a map and compass, and then sending the boat back out onto the water and making their way from the shore to the Rabbit Hole. I like to think that maybe they stopped somewhere for donuts on way back.

#gag or throttle #OB rewatch #OB season 5 #Tatiana Maslany

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