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whiskeyjack · 3 years

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I absolutely hear you on a lot of what you said about Rio’s development this season, but I don’t think the show is saying that Nick’s comment about Lucy’s murder is what we’re supposed to think about it. That’s just what Nick thinks, and considering the way they’ve portrayed him, I really don’t think we’re meant to agree with him. In fact I thought we were supposed to do the opposite. Why do you think the show itself is reframing what happened through him? I’m curious in your reading of that

(x)

you know? you make an excellent point. this one also got unintentionally REALLY long, so it is too, under the cut haha

-shout out to @jade-marie and @00gangfriend00, without them I don’t know how coherent this entire response would be haha

Alright, well firstly, I think it’s unfortunately clear that even some of the show’s writers don’t actually have a good grasp on the events leading up to Lucy’s death, both during s3 and now. It seems like depending on who is talking, and the timing of the discussion, the answer will shift. It is… really hard to speculate sometimes when the writers don’t even know the reason behind a scene. However, since it’s canon - whatever the reason or goal of the scene - I’m just going to go on my merry way and create/keep my own interpretation.

The more I thought about your ask, the more I realized, yeah, through Nick’s scripted words alone, they aren’t necessarily reframing what happened, since Nick does seem to be unaware of much of the entire sequence of events regarding Lucy: “So… you were just gunna, what, keep it to yourself?”. Assuming the diner scene with the cop was the first time he heard about it, his impression most likely wouldn’t be a fair representation of what actually happened. So, this is me eating my own words from before, so I apologize for using his quotes to reinforce my idea. This is simply my opinion, and it does regularly change quite a bit… I am wrong a lot haha

To some degree, I think reframing or shifting of some sort is kind of unavoidable when a show continues a plotline from a previous season, especially in addition to incorporating new characters into the past events. Nonetheless, I do think that the show is deliberately in fact reframing Lucy’s death and why it happened - through Rio’s backstory & POVs, Nick’s character development, and the show’s choice to show Rio having a lack of scars.

1. The backstory and Rio POVs

According to the backstory we’ve been given so far, Nick is this person who apparently is so deeply entrenched in Rio’s life and decision-making but he doesn’t know 1) that Rio killed someone, 2) the fact that Rio killed Lucy for Beth (as opposed to killing Annie, Ruby or Beth), and 3) why, which makes me wonder how exactly they are using Lucy’s death as a plotline in combination with Nick and Rio’s relationship. As I said in my previous post, I believe that the events leading up to and including Lucy’s death were heavily tied into if not directly a reaction to the shooting in 2.13.

According to this season, it seems Nick is Rio’s backstory, and Rio is Nick’s. So far, we’ve gotten approximately eight Rio POV scenes, separate from the girls, including flashbacks (excluding the Fitz kill):

4.02:

-the police station

4.08:

-baby Rio (rotten eggs with Nick)

-teenage Rio (the boxing scene(s)/contrasted with Nick’s POV on the golf course)

-teenage Rio (locker room theft)

-teenage Rio (grandma/stove and locker room arrest)

-adult Rio (outside the police station)

-teenage Rio (with Nick, kitchen flashback - I think this is more just an omniscient POV, however)

4.09:

-the boxing scene (with Nick)

With the exception of the police station in 4.02, Nick has been present in some capacity in each one of these Rio POV scenes. Since it’s only been through the flashbacks that we’re getting the main context of their relationship, it’s clear that the storyline the show is perpetuating this season is that Nick and Rio’s characters are very tightly weaved together in some capacity. And have been historically.

Rio, as a teenager, was a victim of Nick’s early manipulative actions, but in the end, it made him money, so (we are able to gather) he was able to justify falling into a criminal relationship with him. After Rio’s six-month stint in prison, he spent (probably) the entire time resenting Nick (and also, this is where he most importantly - in my opinion - developed adult Rio’s mannerisms haha jk).

So, moving forward with this knowledge, let’s take a look at their adult relationship.

2. Nick’s character development (in relation to Rio)

First and foremost, with Rio, in s1-3, he was an enigmatic, charismatic, clever, powerful, king who loved money, was in charge of every decision, well-connected, and a man of few words etc etc. Now, while Rio is being given more facets as more and more of his relationship with Nick is revealed and explored: he is being illustrated as someone who is dependant on his likely long-time abuser. This may be the case, absolutely, but, in my opinion, takes away from the last three years of work the show put into the character Rio mentioned above, including Manny’s nuanced acting. The reveal of Nick’s current power dynamic over Rio (at least the abusive part) in this past episode was quite jarring and seemed incredibly OOC of the Rio I personally know and love from past seasons, and, it kind of came out of nowhere, in my opinion. To be clear, I have nothing against the storyline of Rio being a victim (have you read my fic? haha), but I think that the way they are progressing this storyline is too abrupt and lacks the subtleties that I would have preferred to see with something like this. Especially considering this is canon.

Returning to the original point though, by assuming this abuser/abused dynamic is where the show is taking Nick and Rio’s relationship, that means that Nick likely seeks to control Rio’s life and decisions as much as he can (props to @00gangfriend00 for this articulation). Related and important side note: @jade-marie pointed out to me that by setting a preceding occurrence of physical mistreatment, the show is (unintentionally) establishing Rio as someone who is stuck in a cycle of abuse, and who seems to seek out abusive relationships and probably misunderstands abuse as intimacy. Rio’s relationships with both Beth and Nick demonstrate this. How much shit they’re both clearly able to get away with, and still have power over him. Which I think is an incredibly problematic message to be sending. This is a critical point, especially regarding the scars/acknowledgement of the shooting, because it offers the writer’s an excuse to write off the entire shooting, and by doing so, they are validating this cycle of abuse. (I won’t apologize for this particular tangent, because I really hope the writers acknowledge the damage this storyline could do if they don’t properly see it through this season)

Since it was confirmed that Nick didn’t know about Lucy (even though Rio supposedly got the alibi of the boxing tickets from him) Rio was, presumably, hiding the true extent (or the entirety) of his relationship with Beth from him. Which - I think from a writer’s perspective - does benefit the show, if they choose not to circle back to the shooting. This also allows them the freedom to ‘pretend’ that Rio got over it by himself. Obviously, there are a lot of issues and plot holes with that in itself, but to me, because Lucy’s death wasn’t something that Nick already knew about, combined with the lack of clarity of who Beth is to Rio in Nick’s mind - he doesn’t know about either the shooting or the consequences of it.

3. The lack of scars

Alright, so lastly - the show’s decision to not put scars on Rio. I think this was absolutely a conscious decision, there must have been at least one person in the building that thought of the fact that a shirtless Manny without scars couldn’t just be brushed aside. As a result, I, personally, think this demonstrates that the show is done with shooting. Pretending it never happened, erasing the trauma, moving on, yeah. Obviously, as I said, I vehemently don’t agree with this direction but I think it’s clear it’s a storyline the show doesn’t want to circle back to. Otherwise, Nick would know about Beth and Rio’s history. Otherwise, Nick would know about Lucy. Otherwise, there would be scars. This is my own opinion of course, but I’m making it based off of a couple of Nick’s lines: “Did you [kill Lucy] for [Beth]?” and in 4.08 when he talks to Beth, “So what’s the deal with you and [Rio]? […] Anyone who wears a cardigan, shouldn’t be doing what he does.” He generally seems unaware of the true state of Beth and Rio’s history and is probably genuinely curious about it considering the amount of control he has (or wants to have) over Rio.

I think that because all of the Rio POVs we’ve had are linked to Nick, I made the jump that we are supposed to believe Nick’s influence is/was at the heart of many of Rio’s decisions in the past. Obviously, during s2 and s3 writing and production, they didn’t actually know they were going to get a s4 or do a Rio backstory, so the fact is, that the character they wrote called Rio then, was someone entirely different from today’s Rio. However, we’re watching different seasons of Good Girls, not a different show from one year to the next. I think because this is the backstory we’re getting, the show is implying that this was the case all along. That s2 and s3 Rio made all of those decisions with Nick, someone he was scared of, hanging over his head in some capacity. Or somewhere in his vicinity. That’s why I have a problem with the implication that Lucy’s death was phrased the way it was, without the scars present. They coated that dialogue with innuendos about Beth and Rio’s sexual history, which is also quite layered, but at least that connection I get. It reminds us that Rio was betrayed in more ways than one. However, without the scars present, and Nick seemingly unaware of the shooting, how does the show intend to justify Lucy’s death with the audience? None of it makes sense. Jade was so incredibly helpful; she cohesively summarized the events - by erasing 2.13, they are erasing Rio’s motivations for 3.05. I just want it to make sense 😩

#gg analysis #gg s4 #gg spoilers #nbc good girls

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inmyarmswrappedin · 3 years

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Im gonna pin a small part of skam's lost allure on Tarjei and the rest on NRK/remakes. For Tarjei's part, his character is credited for being a large part of the reason that skam found int'l success, but my dude wanted no parts of the fame/small celebrity that came with it. He stomped out that hype. As for NRK, in signing off on remakes that mostly cheapen the skam name, they fried the skam legacy. Disposable remakes that don't ever inspire/require a rewatch = the slow death of a fandom

Hi anon 🗿 I mean, I guess? This is such a weird ask. I don't doubt you feel this way, along with other people. I just don't think what appealed to you about Skam is what appealed to everyone.

First off, your ask appears to praise Tarjei for disappearing after Skam, but at the same time lowkey places responsibility upon him for Skam losing its ~allure. And tbh, the only thing that Tarjei has done differently is avoiding fan conventions. He has done many interviews, both print and video, and talked about Skam. He has gone to Pride events for Skam. He has participated in awareness campaigns for Skam (such as the pink elephant one). Hell, he made himself super available both during Skam and after, by participating in low budget stage plays like those of Antiteateret, which were very easy for moneyed stans to attend and then demand that he do stagedoor for. And if that weren't enough, his last year and a half of high school was turned into a meet and greet that he didn't sign up for. If he didn't attend fan cons so stans could get some residual evak dopamine hits, that doesn't mean he turned his back on his Skam fame and celebrity lmao. He seems very aware that he can afford to do whatever he wants because of Skam (not in terms of money because I’m pretty sure Skam didn’t pay that well, but in terms of industry cred and the roles offered to him).

Needless to say that, for me, fan conventions don't keep Skam's ~allure alive or are what appealed to me about Skam in the first place. Again, I don't doubt that people (many people even) are in it to continuously relive evak over and over, be it through Isak season remakes or through being in Henrik's vicinity at conventions or his mom's defunct restaurant.

As for the disposable remakes. First off, it's clear NRK did its best to protect the brand as much as it could. It required a number of things from the remake teams, such as compulsory research among local (to the remake country) teens. It's also pretty obvious (to me anyway) that one of the seasons had to be about a LGBTI main, another about a girl of color, and another touch on sexual assault. I'm pretty sure they'd have sold the show to many more countries if said countries could pass on one or more of these mains. There were reports that many more countries than ended up signing were interested in Skam. And tbh, if NRK didn't give two fucks about the Skam name like you suggest, if they were only in it for the money, then what stopped them from allowing every version to do an Even season, a lesbian Vilde season, a white gay Mahdi/Penetrator Chris/Jonas/background actor season, etc? I'm not going to say NRK hasn't signed off on some dodgy original season concepts, but lol idk about blaming NRK for the remake teams being incompetent.

As for rewatchability... eh. That's such a subjective aspect. For instance, Robbe's season is so boring and just badly made as far as I'm concerned, but some people think it's even better than Isak's season and certainly contains more shower scenes. People still rewatch Cris' season a ton, and I assume same goes for Lucas L's. @liburnapworld posted screenshots showing clips from Nora G's season reaching 10+ MILLION views. And I have personally rewatched Matteo's season more times than I care to mention. I would even rewatch what was out even while the season was still dropping. I also find that Skam Austin s2 is very rewatchable because you can see how the team was developing the side characters' future storylines in ways that most remake characters were probably not allowed to be developed. (Because the Austin contract had different clauses, like for instance Jo would've been allowed to have a season, and probably Kelsey as well.) Again, I don't doubt that many evak stans watched the s3 remakes (and only the s3 remakes, not the s1 and s2 remakes) once to relive the evak dopamine hit, but otherwise found them to be cheap and disposable. It just feels like that's not taking into account the people who showed up for Cris, Joana, Matteo, David, Lola, Shay, Jo, Fatou, Nora M, Nora G, Kieu My or Ava, and liked Eva, Noora, Isak and Sana well enough, or even A LOT, until these remake characters showed up.

#ask #Anonymous #the thing is I love isak so much still #so I should find common ground with evak stans #but I find opinions like these so alienating like...#no. I don't think tarjei not going to cons is what made skam less alluring #I think it's aspects like the writing or the soundtrack or the clip transitions or the length of clips tbh #these are aspects that aren't immediately obvious but which set skam apart from other teen shows

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scullydubois · 3 years

Text

Only the Light: Ch. 9

Back in DC, Missy helps Scully get to the bottom of what's plaguing her. As Scully's journey gets a bit clearer, Missy drops a bombshell about her own life.

---------------------------

Scully’s stomach clenches as the plane touches down on the runway, jostling she and the rest of the passengers around like pawns in its game. Only forty-eight hours ago, she and Mulder had lifted off toward another mystery, another puzzle daring them to solve it. Now she is back, knowing scarcely more than she did then, with a mystery of her own to solve. She is forever chasing ghosts, and trying not to become one.

As the winged giant rolls into its gate, Scully glances out the window. Thick clouds blanket the sky, an unending greyness rolling out over the city as far as the eye can see. So much for there’s no place like home. She’s been realizing lately that home is a feeling, not a location. Sometimes she feels like she needs a map to navigate her own apartment, or like everyone in DC knows some language she never learned. Well, almost everyone. There are a couple people who speak the same language as her.

And she’s about to see one of them now. The crowd of passengers--mostly suits who had sleepless nights-- stand up in their rows, ready to file out into the bureaucratic machine. The man on the outside of Scully’s row opens the overhead compartment and pulls down his bag and the carry-ons of Scully and the woman next to her. Scully thanks him demurely. She can’t remember the last time someone other than Mulder did that for her.

As they fall into line and shuffle off the plane, Scully wonders what her life will look like next time she boards a plane. With any luck, this will all be a fluke and she’ll be heading back to Aubrey tomorrow. Then again, even if it isn’t a fluke, she’ll still probably join Mulder back in Aubrey. She knows herself.

What would she say to him, then? Having to admit she lied about her reason for leaving, coming back with the type of news that turns worlds upside down...it doesn’t seem fair to him. It hasn’t been fair to her either, but that’s out of her hands.

She had knocked on Mulder’s door before the sun was even up. She hadn’t expected him to be awake, and so was particularly surprised when he came to the door with a towel around his waist. Evidently, he hadn’t expected her either (though who else is coming to his motel door at 6am?) because the longer she stood there in front of his barely dressed body, the more his color drained away.

Needing a lie lame enough to be true, Scully told him that Melissa had sprained her ankle and would need some help getting around for a couple days.That she asked Scully to come home rather than go stay with their mother, because who better to be nursed by than a doctor? Mulder had nodded, told Scully to go, assured her he could handle BJ and the case. Scully is sure that Mulder knows what she told him is a lie. But he didn’t object, and that’s the permission she needed to feel settled with him and herself.

She follows everyone off the plane, through the tunnel, and into the terminal. Moments like this remind her of her obsolescence in the universe, and she is somehow comforted by that. She is no chosen one, no messiah nor martyr, no mother of a holy child. She would like to stay that way.

She surveys the crowd waiting to pick up their beloved passengers. All of her fellow fliers, mere faces in her vicinity for an hour or two, are someone to somebody else. She is, too. They are all emerging from obscurity into a realm where they are known, for better or for worse.

At the edge of the crowd, Scully catches her sister’s unmistakable smile and glowing red locks. She saw her sister only two mornings before, but Missy reacts as if they’ve been separated a lifetime. She engulfs Scully in a hug that just about sends the butterflies in her stomach into hibernation.

“How are you feeling?” Missy asks, pulling away to scan her sister’s face for the honest answer she won’t give.

Aware of this, Scully turns the corners of her mouth up. “I’m okay, really. My migraine went away at about four in the morning.”

“So you barely slept,” Missy interjects.

Scully frowns. “Well, I laid in bed from roughly eight to six. There was sleeping involved at some point, I think.”

“How about on the plane? Did you sleep there?”

“No, you know I can never sleep with strangers around.”

“Oh, right. Did they teach you that at the Academy or something?”

“The things I saw at the Academy taught me that.”

“Oh.” Missy regrets bringing it up. As they head toward the luggage area, she holds out her hand, lets her sister place the handle of her carry-on in it. A silent apology, an acknowledged acceptance.

“So what did you end up telling Mulder?”

Scully is endeared that she has successfully chipped away at her sister’s tendency to call him by his first name.

“Oh god, you’re gonna think it’s so stupid.”

Missy laughs. “What did you say?”

Scully’s voice is rife with amusement. “I told him that you sprained your ankle and needed a doctor around to take care of you.”

Melissa bursts into laughter. “Good girl.” Scully would kick a man in the groin if he ever said that to her, but coming from her sister, it’s high praise.

----------------

They ignore the elephant in the room until they make it to Missy’s car. The plastic of a CVS bag rustles at Scully’s feet as she settles into the passenger seat.

“Three pregnancy tests,” Melissa explains. “I stopped on the way.”

“You didn’t have to--”

“But I did.” That had been their father’s comeback whenever someone tried to, as he called it, ‘pity the helper.’ They both smile just a bit, their memory of him alive and well.

“Can I pay you back?”

“No!” Missy insists. “I’m living with you rent free.”

Scully decides this is a good enough reason to let it go. She crosses her legs, watches her sister pull out of the space. She lets a question float around her head until they make it out of the labyrinth of airport side roads.

“Do you think I would be a good mother?”

Missy flicks her gaze toward her sister. Dana is peculiar in her way. Instead of fishing for sympathy like most people when they ask questions of this nature, she expects punishment. She’s practically asking to have a nail hammered into her cross.

“You’d be a wonderful mother, Dana,” Missy soothes. “You’ve never had a bad intention in your life.”

“Haven’t I?...I killed a snake with Bill and Charlie once.”

“And you cried afterward. I remember seeing the tear stains on your face when you got home. Not to mention that you were what, five or six?”

“Well, what about Daniel? Surely my judgement was wrong there.”

Melissa sighs. “Okay, I’ll rephrase it. Any bad intention you’ve ever had was paid for with regret, and that’s not true about most people.” She frowns. “It’s always the purest souls who are the hardest on themselves.”

Scully stares through the windshield. She will expend no brainpower on her sister’s implication. She doesn’t believe it to be true.

After a moment--“Do you remember those Raggedy Ann dolls we had, Betsy and Betty?”

Melissa smiles, nods. “Of course. Betsy was yours, and Betty was mine. We had those little wooden bassinets for them.”

“Right.”

Missy lets the memories flow back to her. “We used to sing lullabies and rock them to sleep. Actually, I’d sing, you’d pray with them. Mom and dad thought it was the sweetest thing ever, and I would get so mad at you. I thought you were sucking up to them.”

Scully laughs. This is the first time she’s heard of her sister’s woes. “Missy, I was three. There was no conspiring going on.”

“Say what you will, but your stocking was always a little bit fuller than mine.” She smirks at her sister, who blushes and looks at her lap.

Dana has the unfortunate distinction, at least in Melissa’s mind, of being the favorite daughter. Bill Jr. always was and will be the favorite child. He molded to all their parent’s expectations of him, never deviating from the upstanding family man they imagined when holding him for the first time. Dana had done well up until she decided on the Academy. As Missy reminded her countless times, it wasn’t that they hated her going into the FBI. It just wasn’t in their vision for her, that’s all.

Missy doesn’t fret about her place, even finds it somewhat funny. She isn’t the least favorite child per say (thanks Charlie!) but she is the least favorite child her mother is still in contact with, and that’s a title that takes some maneuvering.

Scully laces her fingers together, rests them in her lap. “Do you remember telling me that I wasn’t a good mommy one night when we were putting Betsy and Betty to sleep?”

Melissa looks to her sister so quickly she practically forgets she needs to be watching the road. “No, of course not.”

Scully can’t meet her gaze. “Well, I know it’s a silly thing, and we were just children, but it’s stayed stuck in my brain for all these years.”

“Dana, you had probably just finished a ‘now I lay me down to sleep’ prayer, and I felt like I needed to knock you down a notch.” She pats her sister’s shoulder. “There was no truth in it, and I’m sorry it’s bugged you for so long.”

Scully shifts in her seat. The CVS bag crackles as her heels bear down on it. “I’m afraid it’s turned into a self-fulfilling prophecy at this point.”

Melissa won’t give weight to her sister’s worries, but won’t discount them either. “The good news about a self-fulfilling prophecy is that you can always change your thinking...You don’t believe in psychics, so don’t try to be one.”

Scully looks at the dashboard, then her sister. “I would hug you right now if we weren’t doing 75,” she coos.

Something has clicked in her head, some comfort she has long been depriving herself of. Sometimes words fill in the cracks left by those that preceded them. The right words go even further, it turns out. The right words give you permission to heal.

-----------------

A dreadful anticipation plagues her as she and Missy walk up to the apartment. She wants to get it over with, even if it goes badly (and she knows it very well might). She craves the relief of surviving such an ordeal. Scully imagines that this is what the French must have felt on their walk to the guillotine. Except instead of the relief of surviving, they got the release of death. Scully is not ready for this yet.

Missy unlocks the door, ushers her sister in. Dana is not used to coming home and finding things in different places than before, Missy can tell from the inquisitive look on her face. She is surveying her territory, updating her memory bank. Looking for the exit signs, maybe.

Melissa closes and locks the door. Letting her sister set the pace, she leaves the CVS bag on the side table. Dana has already taken the carry-on and suitcase to her room.

Her room, Scully finds, is a shrine to sameness, everything looking exactly as she left it two days before. Untouched and completely under her control...these are the reassurances she requires now. She lifts the suitcase onto her bed but leaves it zipped. Its fate is no clearer than hers at the moment. Then she places the carry-on on her dresser, makes a mental note to let Mulder know she made it home safely, and returns to her sister in the living room.

“Have you eaten?’ Missy asks, edging toward the kitchen.

“I won’t be able to until we get this over with,” Scully replies, making her priorities clear.

“Okay.” Missy won’t fight her on this one. She retrieves the bag off the side table, perches at her sister’s side. “Are you ready now?”

Scully screws up her face. “No, but yes. I just need to know at this point.”

Missy takes her sister’s hand with a specific kind of gentleness, like a fairy godmother about to cast a spell upon her princess. Scully is willing to be led. She follows her sister into the bathroom and sits on the closed toilet while Missy pulls the pregnancy tests from the bag. Scully tries not to think about any moment beyond the current one as her sister opens each test, lines them up along the counter.

“Do you want me in here or outside?” Missy’s tone matches the sympathy that Scully needs.

“Outside, please,” Scully says sheepishly, wishing she could have some guts for once. If no one else witnesses this moment, then maybe it’s not happening. Flawed reasoning that even Mulder wouldn’t agree with, but desperate times call for desperate measures.

“Okay. I’ll be right on the other side of the door.”

Scully nods her thanks as Missy slips out of the bathroom and shuts the door quietly. Left alone, she feels the crushing gravity that has been trailing her all along. She’s almost certain that her heartbeat would be visible through her skin if she looked.

She stands, picks up the first test, opens the toilet. Her hands shake so violently that she thinks she might drop the stick in the toilet, which would be a pretty terrible way to return her sister’s kindness. She pulls it away and takes a deep breath to steady herself, holding her arms out in front of her like a sleepwalker. All the things she’s seen, and she’s never been as scared as this moment. Never felt the life she knows and has grown to love so acutely threatened. Never balked at the future in such a fervent way.

It occurs to her that she might seriously need her sister to come in and help her. The thought of that is just pathetic enough to kick her into action. Her hands are barely any more steady than before, but her resolve is ironclad.

On the other side of the door, Melissa listens as a long period of silence is broken. She’s sitting down, her head resting against the wood, a hand laid against the door like it’s the chest of a lover.

Silence again, ruptured by Scully’s quiet murmur. “Will you hold on to the test, please? And read the result when it’s ready?” She didn’t know she would need this, but she does.

“Of course.”

Scully cracks open the door, passes the stick to her sister. “I wiped it off.”

Missy suppresses a laugh. “I wouldn’t care if you didn’t, but thank you.”

Scully closes the door quickly, not wanting to hold eye contact with her sister, not wanting to accidentally see the result herself. “Two minutes, right?” Her voice is on the verge of breaking.

“Yes, Dana. Two minutes.”

“Should I wait to do the next one?”

Missy eyes the test, waiting for it to make up its mind. “You can go ahead. It’ll take two minutes too.”

“Okay.” Scully’s voice is barely audible.

“Or you can wait,” Missy offers. “I just suspect that you’d want to check the accuracy as soon as possible.”

“Uh-huh.” She grabs the second test, wearily sits back down.

Missy’s voice reverberates through the door. “I’ve done this before you know. For myself and for a friend.”

“Really?” Scully’s brain had tricked herself into thinking she was all alone.

“Mm-hm,” Missy confirms. “Mine were never positive, but hers were. I went to Planned Parenthood with her.”

“Oh.” There are things, Scully realizes, that she has neglected to think about. Or maybe she’s putting that off until she knows for sure. It wasn’t a conscious decision, more of an act of self-preservation. Her gut feeling is that she wouldn’t, but she never envisioned herself in a situation like this. If there’s any situation where it’s justified, it’s this, right? Not that she has a problem with it; women should be able to choose for themselves. She just always thought she knew what her choice would be.

Melissa lifts her eyes from her watch, looks at the door as if she can see her sister through it. “It’s ready.”

“It’s been two minutes?” Scully’s voice rises.

“Uh-huh. Do you want me to come in or…?”

Scully scrambles up, lays the second test on a fresh piece of toilet paper. “I’ll come to you.”

She opens the door, kneels to be eye level with her sister. Prayer position is in close proximity. She bites her lip, her dilated pupils begging her sister to either curse her or free her.

A thin smile appears on Missy’s face as she flips the test so that Scully can read it. “Negative.”

One line. One very defined red line set against the white space. Has anyone, Scully wonders, ever gotten a tattoo of that?

“I--” Tears burst out of her instead of words. She lands in her sister’s arms, utterly unsure of what she’s feeling. Relief, yes. Happiness? Not quite. Sadness? Something like that.

Missy smooths her sister’s hair down, holds her in the tightest hug she’s probably had in decades. “How do you feel?”

Scully is tempted to ask how her sister does that, always there with the tough questions. Instead, she gulps air until she’s calmed down enough to talk.

“I don’t know,” she laments, tears streaked down her reddened face. “I thought I would be glad but...I just feel numb. Like I went down the wrong fork in the road and missed something important, but I don’t even know what it is since it didn’t happen.” She sniffles. It sounds like a heart breaking. “I just know it’s supposed to be there.”

“I thought you didn’t want--”

“Not under these circumstances, no. But then...when else is it gonna happen?” Her voice is a sheet of glass. “Because it doesn’t look like any time soon.”

Missy hugs her once again, rocking her back and forth. She overflows with warmth, sympathy, and love. “Honey, you have plenty of time to make your life what you want it to be.”

Scully sobs into her sister’s neck. She feels like an emotional hemophiliac, constantly hemorrhaging pain. Every time she thinks she’s bottomed out, there’s farther to fall. “I’m sorry I’m such a mess,” she says, wiping her face. “I didn’t know I would be.”

Missy pulls her in a third time. “Don’t ever apologize to me for anything, even the things you’re actually wrong about.”

Scully laughs half-heartedly. “Oh!” She realizes then. “We still have two more tests, don’t we?”

Missy nods, smiles empathetically. “The second one should be ready by now.”

Scully is about to get up, but Missy lays a hand on her back, beats her to it. “I’ll grab it.” She strides into the bathroom, picks the stick up off the counter, and takes a look. Again, she flips it so her sister can see. “Negative.”

Scully presses her lips together, a stopgap to any further emotional reaction. “We should do the third one then, just to be sure?”

Missy detects a lift in her sister’s voice, a space she’s made for hope. “Whatever you’d like, Dana.” It seems that her sister will always end up disappointed through no fault of her own, no matter what she wishes for. This chills Missy to the bone.

---------------

The sisters share dinosaur-shaped chicken nuggets for lunch because this is the kind of food Melissa buys when left to her own devices. Missy dunks hers in honey mustard, Scully takes hers plain. Remnants of anxiety hang in the air; Scully’s plight remains unresolved, and they are well aware of that. Whatever path they are walking, this is just the beginning.

The phone interrupts their silent reverie, and Scully hops up to disguise the fact that its ringing made her jump. “It’s probably Mulder,” she tells her sister. “I meant to call him when we got home.” Missy nods, continues with her nuggets.

Scully grabs the phone off the wall. “Hello?”

“Hey, is Mel there?” It’s a sweet, flowery voice, very different from the one Scully expected. She furrows her brow. Could Mel refer to her sister? She’s never heard anyone call Melissa that. “Who is this?” Missy looks up, watches her sister curiously. It’s not Mulder, evidently.

The woman on the other line clears her throat. “It’s Trinity. Am I speaking to Dana?”

“Yes, this is Dana,” Scully says slowly, unnerved by the caller knowing her name. “Are you calling for Melissa?” Scully offers, hoping she might get out of this scot-free.

Hearing this, Missy wipes her hands on a napkin, gets up, and rushes toward Scully, holding her hand out for the phone.

Scully ignores her, keeps the phone to her own ear as the caller speaks to her. “I am, but I was actually wondering about you. Mel told me your worries. How are you doing, Dana?”

Scully is now particularly spooked. Who is this woman, and why does she know all of her business? Missy pokes Scully in the bicep, then gestures for the phone. Scully hasn’t seen her sister this greedily desperate since she snuck out the window when she was seventeen and needed Scully to unlock the front door so she could get back in before their parents woke up.

“Um, Trinity is it, Missy--Mel wants to talk to you.”

“Oh, okay! It was nice to finally meet you!” the cheery voice practically sings. Scully just nods and makes her usual ‘Mulder you’re crazy face’ as she hands the phone off to her sister.

“Hi, Trin.” Missy speaks in a rush. “I can’t really talk right now, but Dana is home and all the tests were negative so she’s doing okay. I’ll call you tonight, alright?”

Scully can hear the voice on the other line, but she can’t make it out. Her sister says “I love you, bye” into the phone, then hangs up.

Scully raises an eyebrow, feeling it her duty as the little sister to pry. “Who was that…?”

Missy puts the phone back on the wall, circles around to her plate, sits down. She answers calmly, casually. “That’s Trinity. She lives in Portland, we used to waitress together.”

Scully slides back into the seat across from her sister. “How come you’ve never mentioned her? She seems to know a lot about me.”

“Well, you’re the reason I moved to DC and all.”

“I didn’t know you were still in contact with anyone from the West Coast.” Scully picks a stray crumb off one of her nuggets, thankful that her sister is in the line of questioning for a change.

“I bounced around the area for three years, of course I have friends from there.” She grabs her own empty paper plate, points to her sister’s. “Are you done?”

Scully pushes the plate--with two uneaten chicken nuggets--toward Missy. “With the food, yes. Not with the questions.”

Melissa takes both of the plates to the trash, then rinses her hands in the sink. “Yes. Does that answer your question?”

“Depends. What do you think my question is?”

Missy dries her hands on the dish towel, swivels to face her sister. “Is Trinity my girlfriend? Because yes, she is.”

Scully’s mouth drops open the slightest bit. She had known Missy was bi, but she had never met any of her girlfriends, not even in passing. Missy tended to keep them to herself, fearing that the Scully family might encroach on the holy ground she created. “Really?” she asks excitedly.

“Uh-huh.” Missy sits back down at the table. “For nine months now.”

“Are you serious? That’s incredible, Missy! Why didn’t you tell me?”

Missy just raises her eyebrow. Scully feels like she’s looking in a mirror. “What? You know it doesn’t bother me.”

“Sure, but mom, and Bill…”

“I don’t think that mom would be upset by it,” Scully answers level-headedly. “Surprised maybe, but not mad.”

Missy balls up a napkin, tosses it back and forth between her own hands. “I don’t know that she would be, I just...don’t trust that she wouldn’t. And besides, nothing mom says or does will change how I feel about Trinity. So it’s not really a pressing issue. No need to cause a scene.”

“I can’t believe you moved here without mentioning her. I wouldn’t have let you leave her, you know.”

Missy laughs. “Oh, I do. That’s why I didn’t say a word.” Scully’s laugh is her first genuine one all day.

“She seems very nice,” Scully says, flicking a crumb off the table.

“Oh no, she’s a total bitch,” Missy replies. There’s a moment of silence while Scully figures out that was a joke, then they both laugh.

“Just kidding. I love her very much.” Missy’s smile could melt ice. “I’m glad you got to talk to her. Now my two favorite ladies have technically met!”

“I’m afraid to ask whether I’m in first or second place.”

Missy reaches out across the table. “I moved across the country for you, honey.” Then, with a smirk--”But I could move back any day now, so watch out!”

Scully smiles, nods. She can’t imagine what these past few weeks would have been like without her sister near. She hopes Missy never goes away again, as unrealistic a thought as it is. If there are angels on Earth, her sister is one. But Mulder too has emerged as a force in her life; no one destabilized her life quite like him, but he would be her rock if she let him, she knows this. She owes him a call. She knows that too.

#i think this is the best part so far #it's angsty as helllllllll #and two big reveals!!#the x-files #only the light fic #missy and scully fic #txf fanfic #txf #dana scully #melissa scully #mine

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cadomoisspokenfor · 3 years

Text

Legion Rewatch Notes,

Chapter 7:

The King In Yellow

Walter’s really putting his all into that whistling.

Kerry ended up losing Walter eventually. But I guess she was chased out of her hiding place by the zombies.

Theory: Much like how David feels most stable and confident when Syd’s around, Kerry feels most stable and confident when Cary’s around. She’s much less likely to lose a fight or get scared if Cary is in the vicinity. This would also explain why she feels so betrayed that Cary left her in Mental Clockworks. She works best when he’s around (power of love and all that) so when he’s not around she constantly feels like she’s on the ropes. Maybe only subconsciously though.

Lenny says “Hey” a lot.

So Farouk... actually seems distressed here. This is him at his least chill. He’s just shoved a person he actually cares about into a corner of their mind cause he just couldn’t understand them, the dream he’s created is collapsing and he has no plan on how to deal with it (rare for Farouk), and the location of his own body (his temple) is still lost to him after all this time.

Also, there’s apparently no specific place it could be. Farouk’s body could be anywhere on the globe. I guess he and everyone who knows about is aware that he could come back to his body if he knows where it is?

Even though it’s pointed out a lot I’ll also note that Charles is in his wheelchair in Amy’s flashback. And given future/past events (confusing, I know) this either means Farouk is the one who put him in a wheelchair, or whatever caused it happened between defeating Farouk and giving away baby David. And there’s... really not a lot of time in between those 2 events.

As we’ve seen before, while Farouk can probably see into Oliver’s ice cube residents, he can’t actually go inside or do anything to Oliver (or his guest) while he’s in there.

Farouk doesn’t want the dream to end until he’s located his body.

Cary is used to finishing Oliver’s sentences.

Cary and Oliver think very alike. The biggest difference between them I suppose is Oliver’s reality bending powers.

David never agreed to the barbershop quartet but Oliver put his name down anyways.

I never caught this before, but the thing that makes it obvious to Cary is the fact that the parasite called itself “King”. Before when watching this I thought “it’s just a name,” but I guess the point is... what other villain would be so hubris filled as to advertise who they are so openly. It speaks to the brazenness of Farouk. If Charles had ever checked back and found out David was talking to some invisible friend named “King” Farouk woulda been discovered then and there. I can only assume this means the name “King” was taunt of sorts. A joke only Farouk was in on. Not to mention, Farouk probably would never have settled for a name any less dignifying.

Oliver doesn’t remember any of his past friends, but he does remember Farouk. I wonder, did him and Cary hear about Farouk before or after Charles defeated him? Farouk hasn’t been publicly doing things for 30 years, and the only event that could reasonably be linked to him is Meiser Sunday. If they knew about him before Charles defeated him then that would just speak to his prolificness as a villain, I guess. “The Shadow King”, an unstoppable force for years until a random prodigy mutant gets him on his first try... or so they thought. I believe that’s how it happened in the comics too.

I’ll also note, Charles is an important figure in the mutant community, but it shouldn’t be discounted that the mutant community still existed and had a whole rich history before Charles even stepped on the scene. It seems like either Xaviers School doesn’t exist in this timeline, or they just don’t know about it. And given that, Summerland seemingly founded itself off the same general ideas of the Xavier School, but completely independently. Like 2 people coming up with the same idea on different sides of the planet.

Farouk’s weakness as Oliver puts it is, “He puts all of his energy into tricking David. Didn’t think to watch his six.” I wonder... is this a consistent weakness of Farouk’s? Could this be what Oliver means when he says he found his weakness in s2?

Oliver admits Farouk is too powerful for him. It’s not like he’s one to have a power complex, but it is interesting how shameless he is about it. He doesn’t really philosophize about that kind of thing, he’s matter of fact about it. Farouk’s got more measurable power than me, we need to find another way around him. He also notes though that *David* could defeat Farouk if need be. Everyone recognizes David as the top of the food chain.

Small note: I guess this is how it works between omega lvls. Always thinking of ways around each others raw abilities. Farouk knows David is too strong for him in s2, so he finds away around it. David knows he might not be able to hold out against Farouk’s built up experience, so he finds away around it. Brains over brawn every time, it would seem.

Cary feels really really bad for David. Seeing him screaming his brains out in a locked box knowing full well how much David hates small space. It’s very sweet. But also, 2 episodes Cary seemed a bit more standoffish about David. Knowing what he knows now recontextualized all those past events. David is a victim of something incomprehensibly terrible. He sees that now.

My boi Dan’s gonna need a lozenge after this one.

“We’re gonna need everybody.” They never get Ptonomy :/

I didn’t pick up on any of the other times, but Syd’s job here is to be a distraction. Sure, she has to protect the others in the process, but freeing them from the dream is the job of Cary, Oliver, and Melanie.

Still though, David is the victim who needs help here. He’s not the hero who saves them, he’s the one in need of saving. And Syd takes charge in the plan to do so and is tasked with protecting the others, making her once again closer to the hero archetype than David is. In the moment at least.

Syd’s talking fast cause they don’t exactly have all the time in the world here.

The zombies vanish but the architecture remains. There are “degrees” of real in the astral plane.

“Just thought it’d be interesting.” She’s over the whole “jumpscare haunted house” thing by now.

Silly me, the Melanie scene took place after Cary went to gather people. So it’s definitely Cary in the suit.

Melanie’s glad to see he’s back but she’s not completely love struck. Probably both cause he doesn’t remember her, and cause lovestruck Melanie was a result of her mind being altered to fit the delusion. Cary is guiding them out of the delusion so she’s back to her old self basically. Rational, and concerned with the mission.

This isn’t important, I just like how Melanie wakes him up here. It’s sweet, and bitter, cause it’s too late for him anyways.

Why does Farouk simulate this whole process for Rudy? What’s the use in tricking him if he already can barely do anything? We know Rudy gets him eventually, but it’s just surprising that Farouk recognizes him as being a potential threat.

Cary neglected to inform Syd who else he was personally waking.

Is Walter seeing the zombies too? Unclear. But he’s less chill about his tormenting now.

David starts using humor to cope. From what we’ve seen he’s been non-stop screaming for a while. It seems like he stops panicking as much specifically because his mind is fracturing to help him cope.

His first alter (that we see). Rational Mind.

RM says the coffin is just an “idea.” Very specific word choice there.

Rm tells him to forget all the “lies” he learned in memory work and the MRI. That was all Summerland stuff, though. “It’s your mind.” Essentially, trust yourself. You know who you are, don’t let anyone else tell you otherwise. Not even your new friends. Very reminiscent of, “You decide what is real and what is not.”

David doesn’t want to call his adoptive parents his parents anymore.

David’s happy to finally contextualize Farouk as a mutant and not a mental illness. It all starts making since to him, his whole life.

RM’s the first one to say “boohoo,” and it’s in response to David’s sadness over his bio-parents giving him away.

“I am pretty, I am loved.” “Good, keep going.” This mindset David’s falling into is specifically encouraged by his alters. In fact, it’s RM that pushes him down this path in the first place. David (non-Shadow King possessed David) has been avoiding this thought all season.

David’s a bit wrong here, and I think the difference tells us something important. David assumes Farouk possessed him after he was already living in the Haller’s house. But, we know it seemingly happened before Charles even got back from Morocco. So, given that Gabrielle’s mental health was already bad from post-partum depression (alternatively, it’s just the depression she already had) and Charles leaving her alone to go to Morocco, Farouk coming in and haunting the house probably sent things over the edge. David was most likely given away because Gabrielle wasn’t well enough to care for him like he needed, and Charles... 🤷🏾‍♀️ tbh. Might just’ve not wanted to raise David without Gabrielle. They both said they didn’t ant him to turn out like them. In s3 it’s made to seem like the house haunting was a combination of David and Farouk. David’s haunting time travelly presence probably made things worse, but Farouk would’ve gotten to the baby much sooner if not for him, and without David in the way Farouk probably would’ve upped his own intentional torments. The goal was revenge after all.

David assumes Farouk’s goal is revenge upon the whole world. Makes sense since that’s what Farouk’d been encouraging David to all season. And what he’ll continue to encourage him towards throughout s2 & 3.

Syd “woke him up.” She makes him more stable and sane. She grounds him in reality.

“I was sick, but I’m not sick anymore.” A moment of quiet deliberation with his alter and then he awakens with newfound confidence and a plan. This will repeat in a very tragic way later on.

Kerry, Syd, and a damaged comrade in a wheelchair. If I had nickel for every time this happens I’d have 2 nickels. Very weird it happens twice. Unless... mental clockworks and the end of s3 are supposed to parallel each other.

I assume the astral-plane diving suit protects whoever’s wearing it from psychic threats, much like the ice cube. At the moment, no one’s wearing it.

Sometimes psychics powers require a bit of miming to manifest. Oliver can’t just wave his hand and make a shield, not a strong enough one at least. Similarly, Farouk can’t just expand his mind into the future, he needs to go through a whole time machine building process in the astral plane.

Cary and Melanie seeing Walter get killed must hit hard for them considering he used to be a student of theirs. Sure, he turned against them, but still...

They juxtapose Walter dying with Rudy fully waking up. I wonder if that means it was his powers that were keeping Rudy docile and not necessarily the stab wound.

David is the one that wakes them all up, destroys the dream, and puts them back in their real bodies. And just in time for Cary to place the halo on his head. This is I think the first time David does a real act of super-heroism. The only potential one previously is saving Amy and he wasn’t really the one in control there. This is his first win against Farouk.

David’s not only got control of his powers, but control of himself for the first time, too. And it’s to the point where he’s perceiving things at lightning speeds and moving fast enough to catch bullets. Along with whatever power he’s using to halt the bullets momentum too. For now at least, this is our hero.

They play sinister music whenever he does the bright white light teleport. He does it again at the end of s2. Is it a specific kind of teleport, or is he just adding flair?

David didn’t teleport them directly to the base.

Kerry sadly looks at Rudy’s body.

Melanie looked around for Oliver but in doing so missed him meeting up with the others.

Everyone’s relaxing after their long fought for victory. David and Syd seem really happy. They find Oliver funny/charming.

When Cary’s talking to Kerry, in the background I can barely make out everyone else talking about potatoes.

David’s fine with Amy apologizing, just not in front of the others.

Instead of “The Poor Woodcutter and His Wife” Oliver calls it the “The story of The Lady and the Crane.”

Farouk doesn’t like small spaces either. Ha.

#legion fx

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samanddeanwerehere · 3 years

Text

Locations Identified in Season 11

I don’t feel like I contributed as much to this season as 9 and 10. There are a couple more locations I probably technically could have included that aren’t listed elsewhere but I don’t feel like I did any true identifying because the exact address was available on a filming notice and I just matched it up with the right interior scene. I did contribute all the known locations from Just My Imagination which was fun. And I definitely enjoyed filling in blanks on Baby as that’s my favorite episode. There are also several locations in this season that I didn’t have to hunt for, I just recognized them from other episodes: Argue St and Panther Paintball in Baby, the bridge in Plush, almost everything in The Devil in the Details, both the cabin and the mine in The Chitters and the warehouse in We Happy Few and Alpha and Omega. I figure that’s the true sign I’ve been staring at locations for too long.

11x03 - The Bad Seed

Alley between Cambie St and Homer St, Vancouver (49.283282, -123.109736) - This is less a location I identified and more just one I figured out precisely where it was. There were plenty of on site reports from the day they filmed that had the general vicinity but none that mentioned the exact spot. Not entirely surprising as it’s in a closed off courtyard behind a building.

11x04 - Baby

Princeton Kamploops Highway, Nicola (50.150911, -120.600931)

2101 Argue St, Port Coquitlam (49.228842, -122.775362)

8255 North Fraser Way, Burnaby (49.191975, -122.973873)

Driving down Argue St into Harken Tugboat and Barge Marine Services 1990 Argue St, Port Coquitlam (49.23185, -122.77111)

In the parking lot at Pather Paintball & Airsoft, Surrey (49.027909, -122.695850) - This is one I identified not from the on screen footage but from a behind the scenes photo (the one of Jensen napping in the Impala).

Argue St, Port Coquitlam (49.232089, -122.771950)

11x05 - Thin Lizzie

131 8th St New Westminster

2415 Lauralynn Dr, North Vancouver

Wildwood Park 140 201 Cayer St, Coquitlam (49.234034, -122.844629)

11x07 - Plush

1936 Belle Isle Pl, North Vancouver - This house has since been torn down

6408 Clinton St, Burnaby

Capilano River Hatchery, North Vancouver (49.355325, -123.110832)

11x08 - Just My Imagination

314 Regina St, New Westminster

3544 River Rd W, Delta

3534 River Rd W, Delta (49.081545, -123.124279)

3194 River Rd W, Delta (49.07221, -123.13392) - This same barn has been used before in Defending Your Life and Angel Heart

11x10 - The Devil in the Details

Tipperary Park, New Westminster (49.207858, -122.910962)

102b Ave, Langley (49.189358, -122.642712)

Allard Crescent, Langley (49.197016, -122.646434)

Blieberger Farm 10036 208th St, Langley (49.185031, -122.646203) - I debated whether I should even include this because it’s the same location used for Stull Cemetery in Swan Song, which was identified long before I was even in the SPN fandom. But I did figure out, by virtue of the other neighboring locations, that they went back there for this episode and that isn’t listed elsewhere so I guess it can be here.

11x12 - Don’t You Forget About Me

4292 Watling St, Burnaby

Pool building at former Youth Custody Services Center, Goard Way, Burnaby (49.250829, -123.007093)

11x13 - Love Hurts

8118 N Fraser Way, Burnaby

11x16 - Safe House

Fraser Cemetery, New Westminster (49.221969, -122.897422)

11x18 - Hell’s Angel

Outside the old Canada Post building on Hamilton St, Vancouver (49.28068, -123.11315)

11x19 - The Chitters

2590 Eton St, Vancouver

6339 12th Ave, Burnaby (49.202270, -122.963994) - This house can also be seen at the end of Baby

Britannia Mine Museum 150 Copper Dr, Britannia Beach - This is the same location used for the mines in Wendigo in S2.

11x21 - All in the Family

Redwood Park, Surrey (49.036014, -122.727035)

Corner of 3rd St and Queens Ave, New Westminster (49.20934, -122.90881)

11x22 - We Happy Few

BC Hydro Grandview Station, 2466 E 1st Ave‎, Vancouver (49.269187, -123.055312) - This is the same location they use for the garage in the Men of Letters bunker

11x23 - Alpha and Omega

BC Hydro Grandview Station, 2466 E 1st Ave‎, Vancouver (49.269187, -123.055312) - Same location as the previous episode

#spnlocations #supernatural #vancouver #spn season 11 #identified locations #long post

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elizbethweir · 7 years

Text

I’m both proud and ashamed of how long this is (what is my life?). If you read all of this, you get a cookie.

I got a little enthusiastic while writing a meta (/rant) on Elijah, and on his relationship with Klaus, and also Marcel - but I mean, even his relationship with Marcel is practically about Klaus as well. I feel like this season scratched the surface of so many interesting dynamics, while never really quite delivering on any of them.

I thought this season was going to explore Elijah’s mental struggles more than it did. We learnt in season 2 that he can become incredibly unstable, but that he manages to pull himself together for most of his time by burying all of that behind the Red Door. We didn’t see much of it since, so I was eager to delve deeper into it.

Elijah normally exercises an extreme amount of control in everything he does, from the way he looks to the way he thinks to the way he acts. He’s not rash or impulsive at all. When he uses violence, it’s almost always because he rationally decided to do so. Attacking someone impulsively because his emotions got the best of him is rare, although it can definitely happen. No one is always in full control over themselves and their emotions, after all. *whispers* pulling out Marcel’s heart. To Elijah, this lack of control is abhorrent and he will always regret those lapses. After all, this is the man who has been berating Klaus (and frankly all of his siblings) for their temper and lack of control for centuries.

When the Red Door is opened however, it’s a different story. Elijah’s mind is attacked by memories and feelings of guilt and self-loathing, so powerful and overwhelming that he shuts down. He loses all of his ability to restrain himself and think rationally. His violence becomes uncontrolled and unreasoned. He no longer makes a conscious decision to use violence, it happens involuntarily. Some people argue that this is the real Elijah, while the suit-and-handkerchief Elijah is merely pretending to be something he is not, but I don’t agree. Both of these sides of Elijah are part of who he is. In fact, I’d argue one side would not exist without the other. Would Elijah be so desperate for self-control and self-restraint if he didn’t become so horrifyingly violent without it? Would Elijah try to bury all of his memories behind the Red Door if they didn’t torment him with guilt, self-loathing and regret? There’s a whole debate to be had about what exactly defines us as a person (instincts, actions, decisions, feelings…) but for the sake of keeping it simple now, I’d argue they’re all part of who you are. People are complex.

I thought this season might explore that paradox of Elijah’s deliberate vs indeliberate violence, by leading him to a breaking point again. With Klaus getting better and better at keeping his temper in check, it was the perfect time for Elijah to dissolve, and it really did seem to go into that direction – but it just feels half-assed, if I’m honest. They made Rebekah say:

“Now that our brother has found his noble purpose, what about you? (…) You're no longer tethered to him. You must have thought about it. So what will you do with your immortality, now you're not burdened with saving Nik's soul?”

I was excited. I thought I would get what I wanted: an unravelling Elijah in an existential crisis because the sole objective he had for the entirety of his life, the redemption of his brother, suddenly seemed achievable. The one thing he had devoted himself to for a thousand years within his reach – and of course he wouldn’t know what to do with his life anymore. It would be enough to give anyone an intense feeling of loss, let alone an immortal who has lived for so long. Not to mention how Elijah is a controlfreak who has poured all of himself into saving his brother simply to forget his own struggles. There is no person Elijah feels more guilt towards than Klaus. Therefore, devoting himself to his brother is the surest way for Elijah to soothe his mind and basically keep the Red Door tightly locked. He’s not ready to let Klaus go, because then what else would Elijah focus on? He desperately clings to his brother still, because his brother is the only thing that gives his life purpose.

Klaus’s redemption being the potential reason for Elijah’s downfall is something I really, really love. His devotion to Klaus has always been unhealthy, and it was bound to backfire. This season definitely did reference this a little – the finale talked about how they needed to let each other go, after all, which was a good sentiment to conclude the season with. I just don’t feel like this was much explored in the season itself at all. I feel like Elijah’s struggles were mostly just there to create Hayley/Elijah drama.

Elijah has never exactly been a good guy, but this season he noticeably made more horrible decisions without scruples – which I feel like he would’ve mostly tried to avoid before. I think this is because Elijah is painfully aware that with Klaus changing for the better, it would fall up to him to do the dirty work, the things necessary to protect the family from all harm. Those have always been Klaus’s tasks, and Elijah has always vehemently protested against those ‘reckless actions’ – but I think Elijah can’t help but admit that Klaus’s actions, however he may dislike them, are the reason their family is still here today: a necessary evil. So suddenly the roles get reversed. As Klaus attempts to be better for his daughter, Elijah is prepared to take over the responsibility of doing the necessary evil stuff for the sake of giving his brother the chance to become a good dad without any tarnish. He spent almost a thousand years trying to achieve his brother’s redemption – now that it’s within reach, what else is there for him, than to do everything in his power to make sure his brother gets to keep it? He does so by offering up his own morality for the sake of Klaus’s, kind of figuratively in the spirit of: ‘I’ll damn make sure my brother goes to heaven – even if I have to go to hell for it’. He’s protecting Klaus’s purity and innocence – or well, what the hell’s even left of it, of course (anyone remember in S2 when Elijah told Klaus: “whatever innocence remains, we must protect it at all costs”?).

Now, I don’t know how much of this is actually in the show itself. This is what I think should have taken place, but I definitely feel like the writers dropped the ball on it. It does look like the writers were going for kind of the same idea as me. After all, they made Elijah pretty much beg Klaus to let him be the monster and do all the dirty work, so that Klaus can simply be a dad:

“And how do we protect Hope from all of this? She worships you, Niklaus. She must not see the monster. (…) Let me do this, please. And should any turmoil arise, should anyone dare to disrupt our kingdom… let them answer to me.”

Now, keep in mind, Elijah made a deliberate choice to go dark, and therefore this still fits into the category of “controlled, deliberate violence”. This is not Red Door Elijah yet, but the Red Door might just start to creak and shudder a little under the extra weight. I think Elijah’s task of protecting his family would definitely be a large burden for him. He’s not as skilled as Klaus in taking down enemies by doing whatever it takes. Elijah is much more in his element when he can plan ahead, and he’s not as capable of handling himself in stressful situations when things change very quickly. He may have an act of cool indifference, but once placed in extremely tense situations, he can lose his cool - especially when he deals with things that he feels are out of his control, as the true controlfreak he is. And when Elijah becomes desperate, he is very much capable of going off the deep end, further than he would’ve liked.

As much as the lack of Hope/Elijah scenes dismays me, I think it would’ve made perfect sense for Elijah to avoid all interaction with Hope, if he were to go to such dark places. Klaus needs to be good and light to be in Hope’s vicinity as her father, so Elijah will simply disappear into the darkness and perform all the deeds that Klaus now cannot. For Elijah, it’s of the utmost importance that Hope should never have to see her father as the monster he is/used to be. He’s protecting Hope’s innocence, because in turn that means he’s protecting Klaus’s. However, I can’t tell whether those lack of scenes between them are deliberate or not, and that’s the whole problem. I love subtlety, but this isn’t even subtle anymore. This is just unexplained and messy. If they wanted to show Elijah avoiding Hope, we should’ve actively seen Elijah avoid Hope. The groundwork was there, why not follow it through? If they didn’t want to show Elijah avoiding Hope, there’s really no excuse why they have so little scenes together – yes, they do have some scenes together, but they contain so little interaction that they hardly count imo.

Elijah’s relationship with Marcel was also neglected in this season, to be honest. It was there, but most of the time not really in a substantial way. Most of the season consisted of Elijah and Marcel putting aside their differences temporarily for a partnership in which they tensely kept snarking at each other. Snark is fun, but after all the abuse that has taken place between them, I do find it quite a muted response.

The one scene I think is absolutely amazing, is the one in 4x05, when Marcel is locked in the cellar and Elijah threatens him. In that scene, Elijah reiterates what I’ve been saying above: he’s obsessed with his brother’s redemption. Everything is about Klaus and for Klaus. He will do everything for his brother’s redemption and take out everyone who threatens to stand in the way. Even if that goes for Marcel, whom Elijah once considered a son. It was a very ruthless, cold and chilling scene. Elijah was calculated in his words; he had obviously been thinking about it before he entered the cellar. All of his words were carefully crafted to make it hurt more for Marcel, make the impact greater. It was essentially parental emotional abuse, and deliberate abuse at that. Does Elijah mean what he says? Yes and no. He means it in the sense that he really would choose Klaus’s redemption over Marcel in a heartbeat, but Elijah pretending not to care is just an act. We know he cares. We saw how he cried after he had ripped Marcel’s heart out. But, as he told us, as long as Marcel forms any threat to either Klaus’s safety or his redemption, Elijah is not capable of showing any mercy to Marcel. So he puts on the act, and he puts it on perfectly, all to threaten and intimidate Marcel into obedience. Not to mention how he tells Marcel how worthless he is – it’s chilling how much that echoes Mikael telling Klaus how he’s useless and weak. It’s clear that Elijah picked up a thing or two in Abuse 101 class taught by Mikael.

The 2x02 flashback was the first time that we saw Elijah pushing away Marcel for the sake of Klaus, and he has never really stopped doing so. This is how far Elijah’s dysfunctional devotion to his brother goes. His devotion to Klaus will always stand in the way of his relationship with Marcel, so the only way it will ever be possible for Elijah to make amends is by letting go of that devotion to his brother. That’s why I do kind of like how it was Marcel in the end who compelled Elijah’s memories away and ‘set him free’ (even if the compelling thing itself doesn’t make a whole lot of sense). Marcel basically set Elijah free from one of the major obstacles always standing in the way of them having a loving, familial relationship. This is once again something I wish was introduced more throughout the season, but I’m at least curious to see how that will change things between Elijah and Marcel next season.

One thing I found the most interesting about that scene was how Elijah viewed Marcel’s worth (or seemed to, at least) almost solely in the light of how useful he has been for Klaus’s redemption. That’s really disturbing. And it’s not like it’s just Marcel either: even before Hope’s birth, Elijah has always been obsessed with her primarily because of what she would mean for Klaus. Since we don’t have much actual Hope/Elijah scenes, it’s difficult to tell how much he cares about Hope outside of her good influence on Klaus, which is a question I desperately want answered. After all, what if Hope also ended up failing in contributing to Klaus’s redemption? I do feel like Elijah places more value on blood relatives than on adopted ones, unfortunately. Klaus has always been about “we can choose our own family”, but I’m not sure if Elijah ever shared that sentiment. I’m pretty sure he silently considers that an affront – why would you choose others over your own family? He’s kind of affronted everytime Rebekah goes in search of her own family somewhere, too. The irony of course is that Klaus is only half a blood relative of Elijah, and yet he is the one Elijah clings to the hardest.

The Red Door episode of Elijah’s mind, 4x10, was underwhelming, because I feel like it didn’t actually tell or show us anything new, anything of substance. Elijah’s Red Door never actually opens throughout the season – pretty much all his violence and horrific deeds this season have been deliberate and consciously done. He’s been a little more touchy, definitely, which made him look like a ticking time bomb, but we never actually saw it go off. We didn’t get an explanation as to why Elijah seems a bit more unstable now. Freya says that Elijah’s mind is unstable, but it seems like that’s more a result of his mind shattering in the pendant, than because of anything psychological here. The show framed it like “this is who Elijah is underneath, all the time, always - we’ll show you now just to remind you, as we like to do every once in a while”. So what was the point? Was all of that just so Elijah could fall off Hayley’s pedestal? Why did we not actually explore what it would take for Elijah to open the door again?

I feel like this is one of my most incoherent rants ever. Mostly because this season left me feeling like the writers technically agree for the most part with my take on Elijah and his relationships, they just have a really bad way of showing it. Like, what I did here is ‘explain’ the storyline of Elijah and his various relationships on the show this season… yet I don’t recall seeing much of this actually on screen. Maybe if you squint hard enough, but mostly this just feels like me drawing conclusions based on the few hints they’ve dropped, paired with my own judgement on what should’ve taken place. I think that might be the most frustrating thing: seeing these little hints dropped in the show where it seems like the writers agree with me, but then they don’t really come through. It was mostly just a line here or there, and a couple of outstanding scenes, but I feel like all of the relationships suffered as most screen time was attributed to… just plot. (A plot that I didn’t care much for, I might add, because the Hollow was so underwhelming as a villain and a character, but maybe that’s just me.) I feel like the plot should’ve revolved more around these relationships, instead of trying to cram relationship substance into a completely unrelated plot.

A deeper layer of meaning is interesting, but your basic layer needs to make sense too. As I see fandom increasingly start to ask the question: ‘why the fuck is Elijah suddenly behaving this way?’ – I think they haven’t done a good job with it. I think I’ll just live in my imaginary theories world, where I clearly have many feels on the subject nevertheless.

#the originals #elijah mikaelson #klelijah #marlijah #original groupies #i feel like no one is going to bother with reading this but i still found myself compelled to write it #these brothers and their dysfunctional relationship with each other and their children are my life #i'll admit i didn't (re)watch this season as attentively as i did with previous seasons because i frankly didn't enjoy this season as much #so i feel a little less comfortable in my analysis tbh because it feels like i might've forgotten something important #well if i have feel free to correct me #to meta #to meta*#rambles #mine

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