i hope you know you are driving me & my friends up the walls (in the best way) with your comments on our gifsets about emhyr and cahir. you get them, truly.
tell me more pls 👀
Thank you, I'm so happy to torture you with my tags.
I do want to give major credit to both actors, because the physicality in their scenes is *phenomenal* visual storytelling. The delivery of their lines, from their body language to the tone of voice and the microexpressions, has so much nuance that it creates a really compelling dynamic between the two of them. In every interaction between the two of them, there is purpose behind everything, and it elevates the scenes.
In terms of the characters themselves, vengeance is an ouroboros, and I think this shows in how both of them navigate the world.
What fascinates me about Emhyr is how he weaves the illusion of the White Flame- this untouchable leader who is not only certain in his plan, not just guaranteed to succeed, but he acts like he's already won. His posturing is so cleverly constructed to manipulate the person(s) in front of him. We see this in how he interacts with the dwarf bladesmith, sharing drinks but reminding her of the fact they are not, can not, and will not *ever* be the same. The dwarf says as much, blatantly stating he'd kill her if the sword was faulty. And he doesn't shy away from the admission. He leans into it, cultivates that quiet fear that makes people obey. We never see Emhyr without a signifier of his position. He welcomes Cahir back in armour, as the army leader. He wakes Cahir in elaborate dress, as the emperor. Emhyr is always performing, even when he is alone, and that is his tragedy. He only ever dares hesitate when he is alone, but even as he burns the remnants of his old life, he is not allowed to be himself. He is not permitted to be Emhyr. Emhyr is the ashes of a portrait he threw in that brazier. He is the White Flame, because *that* is who will get him what he wants.
And the show emphasises how everything around Emhyr is cyclical. He condemned Fringilla to unending wine, letting her poison herself just as she poisoned his trust. He drinks with his weapon crafter, in moderation and in good spirits. He banished Cahir to the border, where he had to fight tooth and nail for his life, because he sought to cut Emhyr away from his goal. He asks Cahir to kill the only friend he has, knowing Cahir forgets the word "no" around him.
Cahir, on the other hand, is grappling with his sense of self. The only constant in his life is his king, and his king has no mercy for Cahir. Cahir cannot see choice past yearning for Emhyr, because all he has known is loyalty to him. And this hesitation, this doubt, it's apparent. And Emhyr does not hesitate to exploit it. He understands, I feel, on a fundamental level, that Emhyr understands the fact Cahir treads a fine line between his loss of self and finding one that doesn't need a king. Everything Emhyr does, from rousing Emhyr and using the advantage of his still-hazy mind to feed him crumbs enough to satisfy the ache in his heart before he asks the impossible. Something Cahir is more than willing to do, because it's for Emhyr. And this is validated- brilliantly portrayed- by how Emhyr uses language to alienate Cahir from the Others, effectively telling him things like "do it for us" because he KNOWS how desperate Cahir is for there to be an "us"
And I don't necessarily mean a romantic or sexual us here, it's more that Cahir at his core has a need to belong. So what does Emhyr do? "I wanted to welcome you back myself." Entering his room, throwing him his trousers and sitting with him, shoulder to shoulder, looking him in the eye, and telling him what he wants to hear, all the while affirming his standing as the arbiter of life itself. "Fringilla is dead. You are here," he says, meaning "You are here because I have permitted you to be."
Cahir shatters the mirror, whereas Emhyr burns the portrait. One has potential for introspection. The other is a cut link. We see how killing the elf affects Cahir, how he crumbles inward from the act. There is no one to catch him, and he doesn't recognise who he sees in the mirror, but he's not able to let go. And who would? When you have that security, that fragile peace where all you need to do is obey and you'll be rewarded, why step out of line? He tried it, and it almost got him killed. That is what makes this riveting. Cahir is painfully aware of the danger his doubt brings. And he still voices it anyway, sat side by side with the White Flame, he asks "How do you know when someone's a good leader" but he means "How do I know you're what's best for me?" And Emhyr deflects, using Cahir's need against him to placate him.
Emhyr communicates his inner world beautifully - he lays out expectations rather directly, like when he told Cahir "You did as I asked without hesitation." Hesitation is crucial to Emhyr's character, because it is his weak spot. He clutches the portrait of baby Ciri in his arms as he walks away, carrying only his agenda into the future. He buries anything that will not further his obsession, letting it suffocate and rot, instead of killing it outright, because he fears its ghost too much.
Cahir's woe is intelligence, in that he is aware of it all. He's aware of his need, of his desperation, but he's too afraid to break the cycle. The gravitational pull of Emhyr's influence keeps him in this unending loop of doubt and breakdowns and having his faith affirmed, and he's not allowed to change, because if he regains his sense of self, he will no longer be a malleable asset. Cahir can't seem to fix himself up, which shows in how he has looked throughout the season. Hair and clothes unkempt and rough, the most he managed was washing his face. Compare that with the jewellery and velvet Emhyr wore to wake him, and you get two very different worlds that mirror each other. Emhyr is scared to be himself, Cahir is scared of not being who Emhyr wants him to be.
97 notes
·
View notes