re-listening to the magnus archives for the nth time and man the quality drop-off after the episode where gerard kaey just Explains the Lore to jon is astonishing. I'd thought the decline was mostly confined to latter season 4 and 5, but nope! it's there halfway through the series!
I think a number of things about the show's premise are fundamentally unworkable, but one that really stands out to me now is the extent to which it wants to be a drama when it has done very little to establish, specifically, what its characters are like around each other. I have a pretty good idea of who Jon is, and a reasonably solid sense of who the rest of the cast is, but I don't really understand how any of them fit together. even Jon and Martin, ostensibly the central relationship of the show...I don't really understand what that is! what's the shape of their dynamic? what do they see in each other? what do they like and dislike? why are they together (even in a platonic sense)!
(sidenote: honestly I feel like the most well-developed relationship in the whole thing is Jon and Elias, because there is a very clear rationale for what's going on there: Elias is grooming Jon and has some emotional investment besides that because he thinks of Jon as his property; Jon at first isn't aware of this and then struggles with wanting to leave but also wanting to stick around because he's curious, and because on some level he wants Elias's approval. yep, check the box, that's A Relationship)
now this lack of character stuff isn't so much a problem in the early series when it's primarily about the shortform statements— a frame narrative, and a handful of constant characters to populate it, are handy for all kinds of reasons! there's a much better version of this series that casts Jon as a kind of occult Hercule Poirot, and afaict that was originally what the series was supposed to be. but once the show makes its ill-fated pivot towards drama, it has to be about the characters because that's all a drama is ever about, and the gaps become blindingly obvious especially because of the decision to make the first part of season 4 about Things Falling Apart
and like, listen, if you have a group of characters who are friends, and you're a drama, you kind of always want to do this, right? the Platonic ideal of this kind of thing is the lead up to the Buffy season 4 finale, where Spike tries to get everyone at loggerheads, and then all of season 6. but the reason that works on Buffy is that the viewer has a very clear idea of what all of these relationships are, and why they exist. take Xander and Buffy: Buffy loves Xander because he's a goof and he's sweet and he does the right thing when it counts, even though he's not special or strong; she needs someone like that, who knows and sees everything she is and yet still loves her from the ground, and it was never going to be Willow because Willow is also, in her way, part of the supernatural world. where's the wedge? Xander feels inadequate and like he has nothing to offer Buffy! boom, done, conflict generated.
but like...what is the conflict between Martin and Jon in early season 4? Martin used to be super involved and now he's not and there's kind of nothing to be done about it? Basira just randomly despises Jon because...she lost her partner, but never expresses it in a way that reads as anything other than petty sniping, which isn't really in line with the rough sketch of her character we've gotten so far? it really feels like the writers' room (well, one guy in this case) decided that there would be A Conflict at the beginning of season 4 between the characters, but never stopped to realize that with the board state as it was, there wasn't really a way to do that that made any sense, because we have no idea who these people are when they're together.
it's such a shame because the early season horror shorts really are so strong. I know the author cites MR James as his inspiration, and that shines through in a way that I'd confidently call an improvement on James' work! really well-crafted, minimalist horror with a laser focus on the story's core idea, the Thing that makes this tale scary— there's a wonderful intention to it that makes them a joy to listen to. I just wish it'd kept going like that...
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I don't know how strictly accurate this is, but one of the things I find shocking about watching historical dramas is how many people there are around all the time---according to Madame de... (1953) a well-off French household in the Belle Epoque maintains a workforce of at least 3, and the glittering opera has staff just to open doors. According to Shogun (2024) you can expect a deep bench just to mind your household, and again, people who exist to open doors.
Could people....not open doors in the past? Were doors tricky, before the standardization of hinges? Because otherwise, the wealthy used to pay a whole bunch of people to do it for them in multiple contexts, and I find myself baffled.
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hey btw if you're in the USA at 2:20 p.m. ET on Wednesday, Oct. 4, they're testing the emergency broadcast system. your phone is probably going to make a really loud noise, even if it's on silent. there's a backup date on the 11th if they need to postpone it.
if you're not in a safe situation and have an extra phone, you should turn that phone completely off beforehand.
additionally, if you're like me, and are easily startled; i recommend treating it like a party. have a countdown or something. be surrounded by your loved ones. take the actions you personally need to take to make yourself safe.
i have already seen mockery towards any person who feels nervous about this. for the record, it completely, completely valid to have "emergency broadcast sounds" be an anxiety trigger. do not let other people make fun of you for that. emergency sounds are legitimately engineered to make us take action; those of us with high levels of anxiety and/or neurodivergence are already pre-disposed to have a Bad Time. sometimes it is best to acknowledge that the situation will be triggering for some, and to prepare for that; rather than just saying "well that's stupid, it's just a test."
"loud scary sound time" isn't like, my favorite thing, but we can at least try to prevent some additional anxiety by preparing for it. maybe get yourself a cake? noise cancelling headphones? the new hozier album? whatever helps. love u, hope you're okay. we are gonna ride it out together.
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quotes by Victorians about the 1920s view of their generation's women
"We are frequently told that the Victorian woman...generally behaved like a pampered and neurotic infant. This is all moonshine. I do not think that I ever saw a woman faint before I came to London in 1869, and not often after then...they enjoyed a hearty laugh, and a good many of them a contest of wits with any man." -Nineteenth Century, a Monthly Review, 1927 (written by a man born in 1850)
"What queer ideas the girl of 1929 has about the Victorian period- they are not a bit true...Marriage was by no means the end and aim of our existence. Oxford and Cambridge claimed quite a few of us after school days were over. We had great ideas about 'life' and what it all might mean to us." -St. Petersburg Times, 1929 (written by a woman born in 1853)
"True, debutantes were chaperoned at balls. But that fact did not prevent them from dancing as frequently as they chose with their favorite partners. The idea that girls in the Victorian era spent their days sewing seams and practicing scales is another fallacy." -Gettysburg Times, July 1, 1927 (quote from the Dowager Lady Raglan, Ethel Jemima Somerset, who lived from 1857 to 1940)
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