I do understand your reasoning, thank you for answering me. Actually I believe that humans cannot speak for a deity (in my world it caused more suffering than you can imagine, as my god is pictured as a far worse entity), and that He leaves us the freedom of believing or not believing. That is my belief, anyhow, and I fully respect yours.
Likewise, I’m grateful for this conversation remaining civil. I’ve not often encountered someone of the faith who is not personally affronted by my willful lack of it.
I’ll admit, I find myself conflicted over your stance. On the one hand, stating that humans cannot speak for a deity implies they are beneath them. That this god or goddess is beyond reproach or critical examination when that path only leads to the oppression of humanity. On the other... If the deity were to speak for themselves rather than bestowing power on a select few to do so, would that not circumvent corruption and confusion alike? Words could not be twisted; power could not be abused in the deity’s name.
Or, as in your case, the very nature of a god cannot be distorted. Imagining you feel as devoted to your god as I do Lady Edelgard, it must be exceptionally painful to have his character altered by the greedy to further their goals.
While I do not share your belief and never will, I believe it’s accurate to say I respect your right to hold it. There is a certain serenity to perceiving the deity watching over your realm as mindful of freedom in the people to choose. Presuming there is no wrathful retribution for it, I suppose.
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So in your post yesterday, “all of these are textbook filmmaking tricks to Introduce The Love Interest.” I looked it up, because honestly, I couldn’t see how they had chemistry or how Dani showed it before the whole “I’m glad you” stayed scene. Even then, my brain couldn’t process the fact that Dani had an interest in Jaime. I didn’t know what to think when they showed Dani seeing Jaime sleeping over on the couch. It makes me sad of the preconditioning of not assuming, how does one get over it?
Well, I guess it’s important to recognize that not everything is going to work for everyone. Even with all the effort in the world by a filmmaker to get something across, people are still going to miss it (or see it, and not like it). That’s okay. In the same way that everything in a movie can tell you the leading dude and lady are in love, but you just can’t feel it. That’s just a personal thing a lot of the time.
Getting over the preconditioning thing is, for me, a matter of sort of...learning how to trust again. Like we’ve been talking about, LGBT folks are pretty used to getting burned. Even if all the pieces are there, even if the actors have chemistry, even if it feels like it’d be crazy not to watch a love story play out, so many shows and movies have just gone, “But that’s not us, though. And you’re just looking too deeply into it. And that’s on you.” Worse, so many of them intentionally play into that chemistry or those tropes and then tell the audience they’re crazy. Getting over that happening over and over, teaching yourself that it’s not actually insanity to look for queer romance in stuff that isn’t explicitly marketed as queer, takes time. And it’ll take more Blys, frankly. More shows and movies that prove it by doing it.
But if you’re curious about some of the explicit elements I was talking about (and if you’re not, I’m sorry for over-explaining here), there are just some things film tends to use as shorthand. For example, the bit where Dani walks out to find Jamie asleep on the couch: the camera does a slow pan down, and the violin music rises, and they intentionally cast Jamie in the softest, warmest little light. All of that is meant to be how Dani is seeing Jamie in that moment. And things like the tension in holding moments just a little longer than is natural if you’re not drinking someone in--it’s especially visceral in the scene about love and possession, with them just stopping and looking at each other, with the way you can see them swallow, feel the way the breath catches--only to have the spell broken by the very intentional “they really ought to be in bed” double entendre.
And a lot of it, for me--especially on rewatches--is looking at the very small things Victoria Pedretti is doing in these scenes. Very small twitches of the mouth, very small blinks. She’s meant to be subtle, at first, because this is something she’d be trained into hiding--maybe even from herself. But, as it becomes clearer that Jamie’s feeling these things, too, the body language opens up a bit. So much of the relationship chemistry hinges on that performance, and on what Amelia Eve is giving back in the way Jamie’s body positions toward Dani in scenes, and how closely they stand, and so on.
Again, this doesn’t have to work for every viewer. It is very intentional, though, so it’s sort of the opposite of what we usually get to work with, where the chemistry is “accidental” (with film, that’s always interesting to me, because chemistry is largely fabricated by story and camera angle and lighting and music, but accidental is what a lot of these showrunners claim, so...).
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