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medusinestories · 3 years

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Onwards to the episode in which we get to see Flint and Silver each having a very bad day (as well as two literal dicks that nobody had asked to see).

Black Sails VII (s1 ep07)

- We open on Pastor Lambrick's sweaty face as he intensely rehearses the Easter sermon and he’s obviously eaten up by what he did with Miranda. His sermon, unsurprisingly, focuses on sin, keeping sin hidden, and the hell that awaits the sinner. Which leads us nicely onto Flint, who’s distracted (by his own sin? by thoughts of Miranda? both?) during a meeting with Eleanor. Eleanor is pissed that Miranda let Richard Guthrie send a message to the Andromache and then waltz into town to close up his business; Flint tries to take the heat off Miranda, once again protecting her (at this point, he may not know the contents of the letter).

- During this meeting, Flint is startled when Silver first speaks up to say that the mob in the street was bad - clearly Silver is a sort of intruder in this meeting. But Eleanor, after Silver reminds her by unsubtly clearing his throat, tells Flint that he’s not to harm Silver because he was instrumental in setting up the Consortium. Silver looks so pleased with himself in these scenes, and Flint quite defeated when he tells Silver to follow him back to their camp. I love it.

- To parallel Flint/Miranda’s Sulky Sex scene from ep4, we have Anne/Rackham’s frustrating/disconnected sex scene. It shows us a few things about them mainly that Anne wants to keep a lot of control over what happens, hence Rackham being tied up (though of course this might also be his kink), her wearing a shirt that covers up most of her body, and the reverse cowgirl position that means that she’s both in control of what happens and completely avoids eye contact. The position reminds us of the Flint/Miranda scene, where Miranda was also on top, but their scene involved more eye contact (yes glaring counts, he’s still intensely focused on Miranda), gentle touching (on Miranda’s side) and her being naked and open to him. Another parallel is that both Flint and Rackham aren’t in the right frame of mind for sex, Flint being angry and Rackham lost in a sea of worries (and probably also somewhat angry/disappointed at Anne for forcing him into the plot to kill their crewmates). The difference between Flint and Rackham is that while Flint doesn’t seem to have any trouble performing, Rackham is miles away and doesn’t even notice that he’s lost his erection - again. Anne is frustrated by this, and apparently knows him well enough that she offers to put something up his arse, but he’s clearly not in the mood, and she leaves in a huff, abandoning him all tied up as a sort of revenge for his performance problems. Whatever the problem is between them isn’t put into words (because Anne can’t yet, for starters), unlike the one between Flint and Miranda. The intimacy between Rackham and Anne, so often described as close partners, seems much more distant to me than the one shown between Flint and Miranda. I’m not sure whether it’s because of anyone’s sexual orientation, or just the fact that they’re fucking but they’ve never discussed the big important things, such as Anne’s identity/feelings/etc.

- In this episode, Dufresne gains a lot of power: with a freshly (and badly) shaved head and a new tattoo, he’s been promoted to Quartermaster on the Walrus in Billy’s place. And very quickly he has a problem to deal with: Randall revealing that Silver stole the page. Gates had actually already told this to Dufresne, as is revealed at the end of the episode, which might explain why Dufresne is relatively calm during the whole conversation, while DeGroot wants Silver and Flint hanged and Howell is surprisingly ruthless: he brings up the idea that it may be better to kill off Randall in order to get to the treasure, if they can’t make sure he’ll keep quiet about Silver being the thief. Dufresne is actually quite kind towards Silver in the scene where he puts Silver’s memory to the test - a test that could result in his death if he fails it and that Silver constantly grumbles against (I love his grumbling!). Basically, at this point Dufresne remains quite a sympathetic character, which will change a lot as the show goes on, especially after Jannes Eiselen had to leave the show (such a sad story, RIP Jannes).

- In the meantime, the Flint and Gates relationship is crumbling. It's sad to see, especially since they're shown sharing chuckles as they talk about Dufresne's appointment in the beginning of the episode. But then Gates brings up the subject of Miranda and demands explanations about the letter Billy found. We're not shown exactly what Flint answers, but it's clear that he's actually trying his best to give him an explanation without incriminating Miranda too badly. The sad thing is that Flint is actually telling the truth: he actually wasn't involved in any betrayal of his crew and and can only guess at Miranda's motivations. But the fact that he's lied time and again in previous situations, including on the Maria Aleyne where he claimed Lord Alfred drew a weapon on him (and Gates secretly verified that this was a lie), and used men as pawns to advance his and Miranda's plans, is now catching up to him. Flint seems truly hurt when Gates accuses him of using the men for his own purposes, and turns spiteful, telling Gates that he should have been "a better father" to Billy and helped him "understand the world he was living in" (suggesting that such a forthright character as Billy can't really survive in a world of pirates who are all ready to stab each other in the back). After that slap in the face, Gates says he's exhausted from Flint and threatens to take it to the crew. Somehow, this pushes Flint to bare all: he tells Gates about his plan to keep a part of the treasure and use it to build up Nassau, depicting himself as a sort of saviour, doing it for the men's good: they'd rather be rich men in a safe place than dead thieves hanging from a noose. Gates sees this as delusions of grandeur, and tells him that while he'll see the Urca plot through, after that they're done. I actually think he sees Flint’s point, since he doesn’t just throw him to the crew, but won’t admit that out loud. The whole of this scene hurts bad, because you can tell that Flint is desperate and sad to be losing his closest ally and friend, and that Gates is hurting from the loss of Billy and exhausted from the toxic relationship he has with Flint, where he's played enabler to his manipulations for years.

- While Flint and Gates’ alliance is breaking, Silver has to forge one with Randall or die. Randall finds out in the beginning of the episode that he’s been voted out of the crew. This is apparently due to DeGroot’s fears that Randall could be a fire hazard, which the crew took disproportionately to heart. Randall is furious with Silver, who smugly tells him that in these situations, a setback often comes with a new or unexpected opportunity. He’s right, but at this point he doesn’t know that he is the opportunity Randall’s going to latch on. Randall reveals that Silver is a thief, and Silver denies it, saying that Randall is both a halfwit and was in a haze of opium when he heard what he thought he heard; he even tries to convince Randall that he was mistaken (this, my friends, is gaslighting). However, by revealing that Silver was the thief, Randall sets a chain of events into motion which could either end with his death (if Howell has his way, since Randall is an inconvenient witness) or Silver’s (if DeGroot tips the balance, not trusting Silver to remember the coordinates and not wanting to sacrifice Randall for nothing). Silver figures out that these are the outcomes, and tries to talk sense into Randall by making a deal with him: he’ll care for Randall and make sure he can stay on the ship. But it’s only when Silver finally admits that he is the thief and that Randall was right, that Randall accepts the deal. Later, Silver realises that Randall might have orchestrated the whole thing: he’s now got Silver to serve him, doesn’t have to take any risks on the ship, and gets to remain with the crew. Silver wonders if Randall is a genius rather than a halfwit (a word thrown about a lot to describe him). And it seems quite obvious, considering what happened, that Randall still has strong survival skills (an amputee with impaired cognitive skills doesn’t stand a chance of survival outside a crew and he must be aware of it), that he still has a good memory and an ability to pick out useful information and that he’s aware enough of what’s going on to be upset by the crew’s rejection and Silver’s attempt to gaslight him. I think it’s important to recognise that Randall is more than a comic relief or a grotesque character: he’s a disabled man who's lost parts of his cognitive ability and is struggling to survive.

- This episode focuses on Vane facing his past. He seeks out the island where he grew up and its master, Albinus. I’d forgotten or never really registered that Albinus was a pirate and that the men who work for him were mostly his crew - and likely slaves (or children, hence Vane?) that he managed to capture/press into service. He’s retired from pirating and set up a system where his men cut down trees for timber all day, without wages. It’s not clear exactly how he holds so much power over these men, although it seems that everyone is terrified of him. He’s extremely strong physically, seems shrewd, speaks rather well, and his tattoos suggest that maybe he’s involved in some kind of ritual (truly religious or just for show?) which would make him all the more scary to superstitious people. Vane is clearly still frightened: he barely makes eye contact and practically stutters when he first tries to make the deal with Albinus, which is that he’ll take some of Albinus’ men as crew and send Albinus part of their earnings as tribute. It says a lot about Albinus that Vane, after years of having run away, is still so scares that he’s willing to pay him a tribute. But he changes his mind as he stares at a boy bearing the same brand as he does: he tries to persuade the men that Nassau is a pace of pleasures rather than hard labour, and confronts Albinus. The fight is brutal and ends with Vane buried naked, just after Albinus tells him that he’s proud of him. But of course Vane wouldn’t be Vane if he didn’t rise from the dead at the last minute and kill Albinus, goaded on by his inner Eleanor voice.

- In the meantime, Mr Scott returns to Eleanor, apologising for what he did, telling her he betrayed her out of love. However he also reminds her of his slave status: technically, he belongs to her. The argument upsets her, and he quite cleverly uses this moment to ask her to free the slaves who were on the Andromache. And it works: by the end of the episode, she’s made arrangements for the men to work on ships and has bought the women’s freedom and found them jobs in her tavern. But Mr Scott has still decided to leave Eleanor to join Hornigold’s crew, to refrain from meddling with Eleanor’s affairs, since he disagrees with her so strongly re: the Urca. Hornigold approached him earlier in the episode, and the introduction to that scene is quite interesting: Hornigold says to Mr Scott “I’ll need to know your secret” and Mr Scott looks startled and frightened. It seems that he’s startled because he’d been giving food to the slaves, but in light of S3, it could be a much greater secret that’s being referred to. Mr Scott is relieved when he realises that Hornigold is simply talking about tolerating Eleanor, who he clearly can’t stand.

- Flint’s bad day continues, of course, with the big confrontation he has with Miranda. He’s furious about the letter (of which he now knows the contents thanks to Gates), telling her that it could have got him killed, or destroyed the plans they’d made and asking her whether she was trying to embarrass him. This sounds so weirdly petty, and yet it also sounds exactly like the kind of argument that would come up in a bickering couple. Miranda answers that she was trying to help him out of that life, because she wants to move on. This is where Miranda utters the famous “there is no life here, there is no joy here, there is no love here”. I noticed that, covered by Flint yelling at her, and distorted because her voice has gone very shrill, Miranda says another line, which sounds like “you used to love, then”. If that really is what she says, it’s extra-extra-extra heartbreaking to hear (if someone wants to check it for me, it’s around 35:40). It’s obvious that Flint and Miranda’s views on life are very different, and I can’t help but think back to the fact that, as a carpenter’s son from the country, Flint has had to struggle all his life to become who he is. So when he says that you can’t get a life without having a war, and Miranda tells him he’s wrong, she’s speaking entirely from the point of view of her privilege. She’s never needed to fight as hard as he has to be happy, because she got extremely lucky in marrying Thomas. And when she says that Thomas would agree with her, I’m certain she’s right. But life has never been like that for Flint, and there’s no way he’ll ever entirely agree with their point of view. Rewatching this scene is tough, btw, because they both have great points, they’re both hurting so much, and there’s so much to take in between the body language, the facial expressions, the tones of voice and the actual words that it’s a whole whirlwind. And it feels very, very real.

- It’s absolutely hilarious to see Rackham get robbed by the whores taking advantage of his lack of knowledge (and research). He should absolutely have done a better job and has no clue how to run a brothel. He’s lucky Max takes things in hand after having heard from Idelle that the girls were taking advantage.

- Then we have the beautiful Drunk Flint scene. Eleanor notices him feeling very sorry for himself after Gates has pretty much broken up with him and he’s still reeling from fighting with by Miranda. I think Flint feels very misunderstood here. He thought that he was doing something good, to save Nassau and avenge Thomas, and doesn’t understand why they can’t see it, why they only see the terrible methods he uses to reach his goals. So he’s full of doubt, clearly wondering if he’s the villain of the story, and puts the question to Eleanor: is their plan worth it? Eleanor is the only person who still believes in him, which leads us to the only scene that I would ever call straight-baiting. Flint hovers near Eleanor, breathing heavily, and a variety of emotions play over her face during this moment of tension, as she seems to think this is leading to a kiss. It does, he gives her a chaste little forehead kiss and leaves. All the elements are in place to make your average viewer start shipping these two. I actually find it hilarious that the ship barely exists in the fandom (though I wasn’t there in the beginning of the fandom and I guess the viewership changed a lot between S1 and S4).

- The scene with Flint and Gates glaring at each other from their respective ships and Parson’s Farewell playing in the background... epic! We know this is the beginning of a big struggle between them, especially since we find out that Gates has pretty much decided that he’ll hand Flint over to the crew once they get the money. But nnnnggh that scene! The ships leaving on their hunt! Awesome and heartbreaking!

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murphystartedthefire · 5 years

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Conageddon - Richard & Luisa Panel

This is all out of order but finally sharing some notes and memories from the GLORIOUS Memori panel. I got my people. <3

UPDATE: The panel is now online!

Firstly, they used this Memori fanvid as the intro, giving us all the feels - glad I was able to track down the song and video!

- My general thing that I said to @doortotomorrow is that honestly the whole vibe of their panel was so sincere and supportive and sweet. A lot of people commented what a switch it was from earlier in the day when Richard was being really silly with Bob and Zach, all messing around and could barely give a straight answer to a question on their panel -- which was enjoyable for other reasons! (a.k.a. Richard had just been handed a bubble maker and just spent 2/3 of the panel releasing a steady stream of bubbles and distracting Bob with it until he ran out.) But here they were talking really thoughtfully about their characters while still having funny moments. GET YOU A MAN WHO CAN DO BOTH etc.

- Re: The beer pong games from the party the night before, he was so proud of her for winning with him and she credited him for teaching her. Richard calls her his “masterpiece” lol.

- In season three when Murphy was "courting" Emori, Richard would be cute between takes and give her things like a little leaf as a gift. And then she threw it away when she thought he wasn't looking, and Richard was acting all offended. (Confirmed Soft Boy Murphy.)

- They share Memori songs with each other and listen in one earbud each while preparing for scenes. Before the rocket scene in "God Complex" they were listening to "I Will Follow You Into the Dark" by Death Cab For Cutie, she ran to him like you *have* to listen to this. Another one Luisa introduced him to was ”Scared” by The Tragically Hip ... Richard started singing it softly. I apparently willed this panel into existence with my mind. (sobs) EDIT: Thank you to @dailymemori for pointing out, Richard’s Memori song recently was “Here I Am” by The Boxer Rebellion.

- At one point Richard started talking about how he has such a close relationship with her but never felt like there was a danger of fiction blurring with reality... like Luisa is so beautiful and smart and kind and yet they never think about each other that way (romantically) and would be like "god no" if someone suggested it, she's just Lu to him. <3

- They talked about how Murphy and Emori saw something in each other immediately, that they were kindred spirits, Richard: "I get your crazy and I like it." Their first episode together, Richard said it was a test, they didn't know if a love interest could ever work for him. He emailed Jason to say how great she was and that they had to bring her back. Luisa remembers the moment where she has the knife to his neck and he looks up at her, she saw the look in his eyes like "damn."

- They were asked a question about how they come down from doing intense emotional scenes, Richard said it’s easier for him when he knows he did a good job, he’s amped up and feels good about it. Luisa said that Richard is hard on himself and his own worst critic when he thinks he's not doing well in a scene. "He can give 100% and be upset he didn't hit 101%." He was jokingly like "Well yeah, that's just one more percent, I could've done it!"

- On that note, one scene they struggled with at first was the rocket/shock collar scene in 5x06 "Exit Wounds", because they knew how important it was to the season, it's basically the time when they actually do communicate about their breakup and the reasons for it. Their timing felt off, and the people on set knew to leave them alone and let them figure it out together.

- It was just... super validating to hear them talk from their perspective about Memori's S5 arc centering on that scene. Richard placed a lot of it on Murphy’s demons and headspace and with her thriving in space it felt to him like she was pulling away so he had to faster and harder.

- I’m cheating and editing this in because I’d forgotten about it, but there was a question about Emori and Raven’s relationship and Luisa tied that into talking about Emori’s disability and how she doesn’t really sit in her feelings about it; it’s actually their abilities that drew them together, them both being really capable and Emori being so amazed with what she could do with tech.

- I believe this also came up at the meet & greet but Richard is so sick of Murphy being called a cockroach, heh. It's not the animal HE associates with him... to him from the very beginning, Murphy has been a feral dog who was kicked and abused too many times, and is one who will snap back at everyone because of it rather than cowering.

- In the same/opposite way, Luisa saw Emori as a cat. (She talked with me about this a little bit at the autograph table too!) She has a workbook of things that inspire her and help her get into character, and in it she had a picture of a black jaguar or panther. It's alone and skittish and colored dark like her soul -- and now next to it, she has another picture of a lioness with her pride and that's Emori now. <3

- There was one particularly hilarious callback to the boys’ panel earlier. The guys were asked an odd question about which 3 animals they'd put together to make the most dangerous animal. Bob, Richard, and Zach were getting *extremely invested* in the question and arguing with each other & defending their animal choices. Richard had centered his answer on a hippo and kept going on a rant about how scary hippos are, even bringing it up after they moved on to the next question....

- So fast forward to the Richard/Luisa panel. I forget how it was brought up exacty, maybe moderator Jo was like "at least we're not talking about hippos anymore" or something to that effect. And Luisa immediately reacted like "oh no, hippos are the worst. They're so scary." and talking about a violent hippo video she saw. And Richard just STOOD UP, so shocked and vindicated, like, YES. THANK YOU. This is why he loves her! Lmao.

- Luisa mentioned the backstories that they come up with for their characters but nothing is canon until it's canon. Richard echoed this and said before the reveal of what Murphy's crime was, he always used to say he peed on the last tree. He figured Murphy was just a pee-er because of the scene in S1 where he peed on that kid. Luisa being snarky: "When I met him I thought, that's the man for me. A pee-er."

- One audience member brought up the point that Murphy & Emori mirror each other, like he did better as a Grounder and Emori did better in space, the places they were always banished in. They were like "whoa!" and marvelling at that idea, Luisa said she thinks they may have talked about that parallel before but forgot about it. After that insightful comment came a surprisingly simple "what superhero duo would you be" question. Richard to Luisa: "I'd be Robin to your Batman any day."

- Question: Octavia used Lincoln's tattoo as her war paint, would Murphy ever wear war paint based on Emori's tattoo? Richard whispered with her as if worried he might give away a spoiler, then cryptically said "wait and see". O_o

- Luisa said she would’ve liked to see Emori and Pike interact with her distrust of authority. Richard would’ve liked Murphy to meet Lexa since the only time they did was her death scene. Jo said Emori and Lexa would’ve been interesting too; Luisa thinks if she had reached out to bringing the mutated Grounders back Emori would be wary and not want to trust her.

- Another audience question that I *have* to give a shout-out to for its creativity, someone pointed out that if Emori had been given the nightblood & survived, it could have led to Commander Emori & Flamekeeper Murphy. Again they had no real answer because it was just like "huh I have no idea what they would do with that power, that sounds like a bad idea for Murphy." :p But I am very into this AU idea.

- What would Murphy and Emori do if they switched bodies in a Freaky Friday situation. Richard: "I'd go find me. Emori's got a cute boyfriend." XD Luisa said very innocently she'd challenge someone to a race, she wants to see what this body can do.

#the 100 #john murphy #emori #memori #dailymemori #cute for a thief #pffffft i'm so sorry i meant to post this last night and then fell asleep #so here it is #conageddon

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mentalcurls · 5 years

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2. Sei uno str***o

I’m back with my thoughts of episode 2 of the first season of Skam Italia. This was much quicker than analyzing episode 1, but there’s still a lot of stuff I hadn’t caught or thought much about the first time I watched the season, like pre-Luchino interactions between the boys, sexy times and the earliest mentions of Marti’s mom. Bechdel test results at the end. Warning for gratuitous use of italics.

I’m still not over Skam Italia doing that video of Gio and the chat between him and Eva, referencing and overturning Skam og’s “No Norwegian boy would go down on a girl”, that shit was savage, bless LudoBesse

Oh, the song that plays while Gio and Eva are getting to the cabin! “It’s gonna be you / And me / It’s gonna be everything you’ve ever dreamed” is 100% referring to Eva, to her wanting to be with Gio, in peace, for a while, to her anticipation and plans for this trip

seeing the cabin again, though. I mean, intellectually I know this is the first time it’s ever seen on screen, this was the first time I saw it as well cause I watched all of S1 that weekend after 3.5 Ammucchiate, but now the magical triad of “Sto a Bracciano”, “Due ore” and “Patatine e marmellata” colors my experience of it so much, I almost teared up when Gio and Eva got inside

I had kind of forgotten how much they actually show of Gio and Eva having sex, I get why people drew the comparison after the Nicotino sex scenes, BUT “DUE ORE” AND “TU NON SEI DI MILANO” ARE PERFECT ANYWAYS

still not over the absence of any fic in which Gio gets to properly show off his oral skills (with Eva or anyone else)

Marti moaning and complaining about how he’s scarred and traumatized after he walks in on Eva and Gio kills me; tbh his problem is mostly that he saw a bit too much of Eva (not a lot I think, because that sheet was pretty strategically placed) and not enough of Gio

I can’t focus on Eva when there are proto-Contrabbandieri interactions going on, I just cannot

ok, so, Marti. He says his mom “freaked out” because she decided to do housework and that he had to run. So, like. Given that he uses that same wording “sbroccare” that he’ll use in later episodes to talk about his mother’s mental illness, what’s happening here? Because while I see how a person would “freak out” about cleaning (like if they suddenly started obsessing over everything being dirty), I think from what we’ve seen of Mrs Rametta that’s not likely and she probably simply tried to do the spring cleaning. So is that what Marti considers a “freak out”? Does he put spring cleaning on the same level of what I’ve always assumed were, like, panic attacks? And then of course there’s the fact that we have a boy who runs like a bat out of hell as soon as household chores are mentioned. Now. We know in a few months Marti is going to pray for his mom to want to do the chores 💔

“C’mon Eva why are you being like this?” are you really asking Gio?

Marti is at peak 🐍🐍 here: he hijacks Eva’s time with Giovanni, stops them from having sex and keeps Gio busy with a thirteen-hour-long game of Risk Eva doesn’t take part in at all. And Gio lets him! He doesn’t even appear to stay mad about not being able to have sex for more than those two minutes when he hits Marti with his sleeping bag, is he even a teenage boy

that build up to Elia’s appearance, with the creepy music, gets to me every time and Gio going for the fireplace log lifter kills me

Elia Santini is a living meme from his very first line (“Ammazza che accoglienza”)

I mean that chuckle + “Che, davero?” combo is ICONIC

Eva’s unimpressed face at Gio is also iconic.

“C’mon, what could I do, he asked if he could come, should I have said no?” ahem, OBVIOUSLY YES, since you promised your girlfriend it’d be the two of you (honestly, Gio, how did you expect to have sex, with your best friends in the room next to yours, only separated by a door??)

Notice that Eva walks away (only a few paces), fully expecting him to follow her and try to placate her more, so she can properly scream at him, except he doesn’t, he goes inside with the guys

so we get to the beach scene and what I can’t help but wonder is how long the two schemers, Gio and Elia, spent coming up with a suitable excuse to feed Eva for going back to Rome, something she wouldn’t question… and she actually questions it anyways for a minute

and God, the suspicious look Eva gives them as they walk away

in this proto-Contrabbandieri dynamic, I can’t help but notice that Martino fills that Luchino-ish role, obviously he’s not treated the same because he’s much more likely to have a sharp comeback to mocking and he’s not as naive as Luca, but he’s the one that gets left behind while the trouble duo goes to get the weed; and I think that if a Bastardata-like situation was to happen in S1 Marti would be the “victim”

and of course this episode has this big gaslighting incident, where Gio tells Eva he’s going back to Rome for his brother, Martino covers for him pretending he knows nothing (and encouraging Eva to drink and forget 😑) and when Gio comes back they all act like it’s fine, like it’s normal that he was gone most of the day and the whole night and like she’s totally overreacting when she’s mad

ok, but Marti is really really invested in Gio’s sex life, this boy is gone, desperately looking for any and all scraps. I think I’ve seen fic do the “Marti never wanked over Gio, he couldn’t have faced him afterwards” thing and while that’s valid, I think that he actually fantasized a lot about him, basing himself on the sexcapades Gio has told him about, like Villa Sciarra, because this boy has shown he’s thirsty af from day one, first telling Eva “c’mon, zozzoni, let me see” on Skype and then in this episode asking Eva outright what Gio’s like in bed

I can’t even describe Marti’s face during the conversation, first he fakes nonchalance, then he goes for a nice-guy-encouraging-reassuring smile, then he smirks and wiggles his eyebrows, then he’s smug, when Eva seems to be mustering up the courage to speak again he’s kind of hopeful, then smug again, then he softens when he starts cuddling Eva, but in the last shot from that clip he’s looking in the distance, he stops smiling and has a slightly disappointed expression

that conversation with Eva, God. Aside from any and all speculation of Marti’s motives, she is obviously embarrassed and uncomfortable, yet Marti keeps pressing; she clearly states she asked Gio not to talk about their sex life (not too in depth at least), yet Martino confirms he’s ignored her request and quotes some notable examples that prove his knowledge, which embarasses her further, to the point she stops the conversation; finally, Marti justifies Gio and himself by saying “You know, we’re like this.” like that excuses anything (or means anything, really)

those shots of the lake in the early morning and of the trees *insert Poetic cinema meme here*

Gio has the gall to come in like nothing’s happened and announce he’s brought back brioches, then to shake his head and sigh when Eva storms off, like dude? You left her alone with your best friend for a whole day and a whole night, no answers to her calls and texts, she woke up hungover on the couch and in the arms of a boy who’s not you and you’re surprised and exasperated by her being mad at you?? Honestly, Gio, you might be il mago dell’amore cause you’re half decent at matchmaking but you’re shit at doing relationships, at keeping them healthy and working

at least Eva finally gets him to follow her where they can talk alone, she finally gets him to choose her over his friends for a few minutes

Eva’s paranoid and controlling behaviour is not healthy for her or for Gio or anyone else, really, but I get where she comes from. Her relationship began with cheating, her boyfriend is currently hiding something, so trust is not something that comes easy here. Still, asking to read your boyfriend’s messages to someone else is not something conducive to a better relationship.

“You-you change when you’re around them.” hello “7 things” by Miley Cyrus!

And here we go again: “Eva, do you really think I’m hiding something from you? Eva, I’m not hiding anything from you, okay?” and he kisses her, trying to placate and distract her with physical affection

poor Eva walking to a place that is as isolated as she feels

I mean, this trip must have been devastating for her, she’s been anticipating it for weeks, it should be her occasion to be with Gio, to strengthen the one relationship in her life that’s going well, to placate her fears and to forget all the stuff that’s going to shit in her life for a few days; instead Gio’s friends gatecrash the trip, Gio spends half of the time going back and forth from Rome, she gets stuck with Marti who’s a good guy, but inappropriate, she finds out her boyfriend discloses info about their intimacy without her consent, and there’s the whole Laura thing. The only pinprick of light at the end of the tunnel is that kind-of-weird, a bit too touchy-feely girl from the Easter party befriending her on Facebook, how sad is her life?

Bechdel test: this episode doesn’t pass the test. There’s a brief conversation between Eva and her mom at the beginning, but her dad intervenes, plus Eva’s mom is still unnamed so the conversation doesn’t count for the test.

This post is part of my complete series of meta about Skam Italia season 1. If you’d like to read more of my thoughts about the other episodes, you can find the mastepost linked in the top bar on my blog under SKAMIT: EVA. Cheers!

#skam italia #skamit meta #giovanni garau #martino rametta #eva brighi #elia santini #eleonora sava #martino's mom #skamit #skamit s1 #1x02 sei uno str***o #a. writes

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