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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Brian I have a nice ask day ask if you wish to answer it 💜 can you pick your top 5 Rafa on screen scenes and rank them? impossible question I know. but I believe in you!
Okay the thing is I did want to answer this immediately but it absolutely crippled me with doubt 😂 so I'm just gonna do it quick like ripping off a bandaid so that I can't overthink it anymore. Also not going to rank them because I'll spiral, so you're just getting 5 great ones:
The first interrogation room scene in 2x08 (but also all Carlos and Gabriel scenes this episode). The constant shifts in Carlos as he puts things together and realizes why Gabriel's there, the heartbreak of him thinking he was doing what his father always wanted, only to disappoint him again... at the time, this was the strongest scene LS had it its arsenal (WE STAN AND MISS TONYA KONG FOREVER AND ALWAYS) and it remains one of the best ones. It's so compelling and amazing to get to see the Carlos and Gabriel dynamic on display for the first time. This episode was a game-changer and I'll never shut up about it.
It's probably cheating to say all of his work in 4x18, so if I had to pick a scene from that I would say his talk with Owen where they toast Gabriel. My only problem with it is that it's so short, but Rafa packs every fucking thing he can in there, beat for beat, and it's beautiful. His delivery on "and forget about it?" but also all the lines leading up to that. The man is fucking hollow and crushed and lost and MY GOD RAFAEL. He's so skilled at what he does, knows exactly what he's doing every time. It's sublime.
Fine, another 4x18. Carlos's vows. I'm not gonna explain that one, the man is fucking beautiful and his heart is beautiful and he puts in on display publicly for what was probably the first time in his adult life, and it's stunning.
I love the scene in 3x13 where Carlos meets Cooper. Rafa is such a brilliant comedic actor, he uses every tool at his disposal, he understands his craft so well, how to use his body and face and voice to delivery great work, he's such a standout. I adore him. I could watch that scene for hours. Also, he is really fucking distracting in those clothes.
I'm gonna pick the fire in 2x12. And I'm gonna pick it because honestly the intensity of that scene, the life-or-death stakes, the absolute devastation and destruction of it, they are fully delivered by Rafa's performance. Like, Carlos's fear is what drives the scene, and Rafa's work sells it. And I'm also going to pick it because he's shirtless and so fucking hot. I'm gay, it's true. Have fully never recovered from it. And I'm also going to cheat and say the scene continues into him crying and TK holding him. So, like, obviously a top 5.
I'm sorry I have to include it I know I already picked 5 and I refuse to cut any of them but the 3x04 scene deserves to be in here and I'm mostly talking about the montage scene where TK wakes up and Carlos is forced out of the room and then his mom is there but then he fucking gasps the breath of a dying man who has been saved LIKE HE BASICALLY SAYS NO WORDS BUT MY FUCKING GOD, THE PERFORMANCE so I'm listing it and you can't fucking stop me Lola YOU CAN'T
anyway I just really love an actor who has honed their skills and studied their craft and dedicated themselves to approaching each scene in a fresh and honest way and I'm just really fucking happy to get to watch Rafa do it so thanks for letting me rave about him Lola you're a real one ❤️
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Some of the dialogue here is so funny:
“By the way, you new man, have you your card?”
The grave-digger paused.
“What card?”
“The sun is on the point of setting.”
“That’s good, it is going to put on its nightcap.”
I love how Fauchelevent comes up with his own slightly contemptuous way of addressing Gribier as a way of asserting his own authority. Maybe Gribier won’t see him as anything other than “peasant,” but at least he can remind him that he’s “new” and, therefore, knows less about the job than he does. Of course, this is also very effective in making him anxious and doubtful, which serves Fauchelevent’s purpose well. His cleverness is on full display here; he very smoothly uses his seniority to convince Gribier that his advice will save him from that fine (his robbery skills are also impressive).
“It is going to put on its nightcap” is also such a hilarious reaction to being told “the sun is on the point of setting.” It fits so well with Gribier’s literary pretentiousness and with his obliviousness to what Fauchelevent’s saying.
Another wonderful line from Fauchelevent:
“ And you will bury your corpse. I’ll watch it for you in the meantime, so that it shall not run away.”
It’s both funny in that a corpse can’t move and in the ironic aspect of it, with us knowing that the “corpse” is going to leave as soon as Gribier’s gone.
Jean Valjean’s apparent calm is also funny when contrasted with Fauchelevent’s panic (sad as well, but funny). Fauchelevent’s lengthy speech here is what we’ve typically seen from the misérables, signifying both his distress and the fate that Father Madeleine saved him from. Valjean says very little because he’s generally taciturn (not having expressed himself at length since the bishop) and because he’s just experienced a great shock, but the simplicity of his lines (”I fell asleep”) still feels somewhat comical.
The Jean Valjean-Gribier parallels are strengthened with the depiction of his dwelling, reminding us of their similarities (caring for a woman and her children while making very little) and giving us an idea of what exactly Valjean’s early living situation looked like. Gribier’s relationship with his family seems worse, though (with signs that he beat the children; Valjean has been cruel to a child twice - Petit Gervais and one boy on his way to the trial in Arras - but not violent, and while we don’t know a lot about his past, incidents like these tend to spring him out of a moral crisis rather than just being part of his bad moments). Still, I’m glad that Fauchelevent brought the card back to him so he won’t suffer financially and that he seems to trust him because of it. And he offers to pay for drinks! Maybe Gribier will build a social circle and his family will suffer less because of it.
You can also tell that returning it was part of Fauchelevent’s plan because he enters through the door. Valjean would have broken into the house and left the card somewhere to avoid a conversation.
All in all, 10/10 coffin heist, but keeping in mind that grave-diggers are also people who live and die is probably a good idea.
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