ok sure i'll talk about farleigh start. i'll talk about his tragedy of never being enough as it were and then having to deal with fucking oliver. sure. disclaimer: it's about class (and race) and the horrible reality of the rich. the horrible reality of living as farleigh.
another disclaimer: i'm white! and poc definitely pick up on everything i'm talking about here as it is, and better. i was and am specifically interested in farleigh vs. oliver but it's impossible to examine without considering race. definitely let me know if anything abt this sucks!
farleigh and oliver are similar. it's annoying because every intruder that is not himself is annoying, partly because felix's attention swaying from farleigh is dangerous; there is always a threat of being discarded, even if no precedent existed. the potential is terrifying.
but you'd think he's seen this before, every summer (if venetia is telling the truth) or at least often enough to learn to recognize it fast, so he should know this will pass. part of it is i think still the deep anxiety, and i think he hated every boy that was there before, and it is sort of routine.
but definitely a huge factor in farleigh's annoyance is the fact that he's a biracial (black for cattons, that's all they see) man in a white rich household. he's alert and exhausted all the time. of course he's angry at oliver, regardless of whether he's the first to crash at saltburn for the summer or the fifty-first.
but the important thing is this.
farleigh is very jealous of and angry and pissed at oliver because farleigh sees all the similarities between them. outsider, in financial trouble, whatever it is, in need of cattons; and yet oliver is preferred. and farleigh seems to be the only one to really consider it. felix does not pick up on the hint when farleigh brings up the birthday party vs. his mother. felix's clumsy "different or... anything like that" is as much about race as it is about class, of course. the "we've done all that we can" bit is felix absolving himself of guilt because surely they had, surely the mysterious collective cattons that he's not really part of had tried all they could do. to him, farleigh is different from oliver, because farleigh has been helped. felix is rich and white and twofold uncomfortable with farleigh, even if he's nice about it, even if he genuinely enjoys his company; he doesn't look too close at farleigh because he feels too guilty to come too close. and farleigh can't do anything about it. he can't nice himself into it. the fucking tragedy of him is that he's never enough in the world of the ultra-rich white, even if (especially because!) he's born into it.
farleigh is very pissed at oliver because farleigh also sees all the differences between them. you know who can be nice poor white enough to fit in? fucking oliver. felix says "just be yourself, they'll love you" when oliver first moves in. farleigh was also probably told the same thing, and felix also probably believed that farleigh could just be himself, but even if the cattons were magically not racist at all (impossible), it wouldn't make a difference to farleigh. he would still self-censor, keep in check, be in dangerous waters (because racism is not just about the individual, but about the system). we see that he'd won himself leeway by years of trial and error by the way he speaks to the family, but it's still within the boundaries of acceptable, built by the cattons. he's part of them because they allow it, and farleigh is very, very aware.
the annoying thing is oliver can be himself. like, truly, genuinely, he can just be. and farleigh can't help but envy that.
as a side note, oliver is obviously jealous of farleigh in the beginning as well, because regardless of the reality of farleigh's situation, he was born into it, and hence, at least in oliver's mind, has his position solidified. oliver's whole thing is unquenchable thirst and hunger for whatever and everything the cattons have (including themselves!). he wishes to have been a catton from birth. to oliver, at first, there's nothing farleigh can really do to lose it. and until he figures out the cattons completely, he can't help but envy that.
but i think farleigh senses something different about oliver early on. at least on the level of the text, we have "you're almost passing [for] a real, human boy", which is so important because farleigh is the first to point out oliver's weirdness. the next to do so is venetia in the bath scene calling him a freak, but it's too late. farleigh is too early.
and i like to think he clocks oliver too early because he sees the jagged edges that he recognizes in himself. i think that one other thing that farleigh envies is oliver's freedom to let go. freedom to let go is very similar to freedom to be, but not quite the same.
to be is about perception: farleigh knows he cannot fall out of line, but would like to, and oliver does not have to worry about it at all (i mean, he does, because oliver also performs for felix, but farleigh doesn't know that).
to let go is about the self: farleigh is too scared to even want what oliver eventually does, to even consider the possibility. oliver can let himself want. oliver can let himself act. oliver just can do things and want things. i'm not sure farleigh can.
and so in this scene, when oliver's wants and actions have landed him nowhere with farleigh, felix, venetia, the cattons, of course farleigh gloats. he can let himself do that, because if the cattons are slowly discarding him, farleigh can allow himself this one small victory. he's relieved because despite the dangerous similarities, oliver is, thankfully, not really the same as farleigh, right?
but like. this movie is a love letter to all things gothic. oliver is a white man. he prevails. the brief performance that oliver put on did eventually end up more effective than farleigh's lifetime of constraint. my heart fucking breaks for him to be honest.
the issue that remains is the fact of farleigh's survival. i like to think that oliver came to respect him. oliver is smart, but farleigh is clever. he picks up on everything oliver does (to refer back to the karaoke scene, farleigh immediately retaliates in the cleverest way, in the moment), and he's the only one to do so consistently (venetia, again, for example, comes close, but too late; oliver doesn't like that, there's nothing to work with). hence, stay with me for a little longer, the paradox: farleigh survives because he was never enough for the cattons, but he is very worthy of oliver's attention. in his own freaky way, oliver wants him. look at that.
so. farleigh. farleigh might come back. he always comes back. and i think oliver wants to try harder next time.
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This is a scrap - and should be read as a criticism of the story telling moreso than of the (fictional) characters - but...
One of the results of Season 4 framing Adora as purely a victim of "crazy ex" Glimmer - Presenting it as if Glimmer was reacting to nothing, that Adora wasn't controlling or jealous or secretive - is that it deeply undercuts the idea that Adora treats Catra badly because She Just Doesn't Know Better.
If Adora treats Glimmer in the same (bad) ways she treated Catra, then it tells us she has flawed assumptions about what a "good" relationship looks like; that her behaviour (if not innocent) is at least sincere, and that she is continuing to apply bad models even in a situation where it does not benefit her(or anyone but Shadow Weaver). Having these models fail her would drive the character towards self-examination and personal growth.
But if Glimmer was the core problem in Season 4 - if Adora was nothing but supportive, even when the circumstances of her youth are recreated nearly 1-to-1 - then we're saying that Adora is already perfect, that actually she does know how to have normal, healthy relationships even under trying circumstances.
Which makes her refusal to extend that care to Catra incredibly suspect. Does she think that Catra is uniquely unworthy of respect?
Or does she just know that other people think Catra is unworthy of respect, and aren't going to say shit (especially when they still need She-Ra to save them)?
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Look, obviously none of this is the intended read; And fwiw, I think that at least the script of Season 4 actually does show Adora replicating her bad behaviours -
being high-handed, controlling, jealous of Glimmer's relationship with Shadow Weaver, and unhealthily invested in her role as The Hero -
and then has those flaws drive personal growth - reflecting on if she is making things worse, recognizing that her idea of being A Hero is to be a weapon in someone else's hands and explicitly rejecting that -
but that this is undermined by the directorial lens overwhelmingly framing Glimmer as The Villain (and thus Adora as In The Right/The Victim/Smol Bean), and that this conflict drives these really ugly implications.
In absolving Adora, the story inadvertently validates her beliefs - even the ones that it set up as false and harmful. Which, yeah, creates the implication that Adora knows when she's acting badly, but just doesn't care (and that we shouldn't either). That her status as "Good" protects her from criticism, and allows her to cast any opposition as defacto "Bad" and not worthy of acknowledgment or examination.
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A trip down memory lane! Writing a short drabble for Elder Faerie :]
I've been thinking about the kind of person Elder Faerie could have been before the Beasts had turned evil.
In episode 2, Shadow Milk kept calling him a foolish king and how he envied the five great heroes before they were sealed away.
You can probably tell where I'm going with this haha X]
Elder Faerie was young back then. He was rashful and stubborn.
His insecurities were high during those years.
What if, during that time, he did feel envy towards the five great heroes?
I like to think he had no powers at all during that time. He could wield a sword, and he would have a long life, like any other faerie, but the power of the guardian did not exist at that time.
Not yet.
He had no silver tree to guard, so it would be interesting if he had no magic powers to begin with.
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