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averybritishblog · 3 years

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The Ten Times I Hugely Overthink M's Character in Spectre.

1. Mallory stands at ease when in the presence of a senior.

So just a bit of a minor point, but when Max enters the room, Mallory's body position changes. His hands go behind his back almost immediately, similar to the at ease position in the Army. Probably a habit from his time in the SAS. He doesn't like Max or respect him, but is still trained to show deference to authority.

2. He basically tells us that he's had to kill someone at close range.

In the scene with Max in his office, Mallory talks about the important of human judgement when making that life or death decision. The fact that he talks about 'looking him in the eye' suggests that he's had to do just that, and pull the trigger at close range. (Also side note, in every scene he's in with Max, Mallory uses the first name but Max always calls him M. )

Numbers 3 to 10 under the cut.

3. Dude has a temper.

When Max plays him the recording of Moneypenny's recorded conversation, Mallory looks like he would actually slap someone given half the chance. There's not embarrassment or fear, just anger. (Semi included this one because my GOD he looks good when he's angry.)

4. He probably suffers with an old leg injury.

You can see it at several times during the movie. The first time I got a hint of it is when he's coming down the corridor. He's got an uneven step and often swings his arm a little to balance it out. There's other hints too. When they go into the Hildebrandt safehouse, M uses the railing on the stairs to pull himself up and onto the land. From the scene on the bridge, we also can see that he clearly can't run very well. This is probably hinting at when he was taken by the IRA, as one of the things they were famed for was 'kneecapping' those they captured. It's likely therefore that Mallory sustained an injury whilst taken by them and never recovered.

5. His command style is still very militaristic.

In the Rules scene, M instructs Q to destroy all the smart blood files and leave well alone. Whilst he provides a quick explanation as to why - in that they'll only make Bond weaker - he doesn't leave time for questions. He walks out, understanding that his orders will be followed. (Also important to me is that he's eating alone in this scene, which I will come down to below).

6. He takes pride in his work/he's incredibly neat. (Most likely both).

When he meets Bond in Hildebrandt, M's gun is in a leather case with it's own holster. This suggests it's not MI6 standard issue, but his own. It's a nice leather case as well, meaning he's invested in it. He either likes to keep things neat or he takes some level of pride in the tools of his trade. Most likely it's probably both.

7. The car.

Honestly, no idea why I love this so much but buckle in for my headcanons about this car. So it's not one of the MI6 staff cars. In Skyfall, we see M(ansfield) being driven in the latest Jaguar, where as this is a 2006 XJ Sport. That means at the time Spectre is set, it's coming up to nine years old. Now probably this is just due to filming. The production bought six of these cars and smashed to pieces four of them, so they probably just went for a car that was easy to get a hold of and cheap. But in my head, this is Mallory's personal motor, which is reinforced by the fact he drives it, not Bond. It's a Jaguar, so less flashy than Bond's Aston Martin and more of an old fashioned brand. The fact that it's a little on the older too suggests to me that Mallory is fond of it.

8. He's actually fairly sentimental and fiercely loyal.

For me, in the shot where he watches the old MI6 building crumble, he looks both terrified for Bond and also mournful at watching the old building collapse. This suggests to me he is actually fairly sentimental and is loyal to his agents, despite Bond landing M in deep shit throughout the entire movie.

9. Dude's a bad ass.

Break into the data centre of a super evil spy ring masquerading as a British intelligence agency? No problem, will just make himself at home. Walk up to a bunch of armed police and just glare at them until they stand down? Why the fuck not. Mallory follows protocol until he's 100% done and then will just say fuck it.

10. He probably was once given the chance to walk away and didn't.

Okay so this actually begins in his first scene in Skyfall where he asks Bond why he didn't just stay dead. He doesn't understand why the agent doesn't just take the easy way out and quit whilst he's ahead. Skip forward to the ending of Spectre, where he's looking at Bond walking away with Madeleine. There seems to be more than a hint of regret or sadness in his expression. To me, this suggests that he was probably once given a similar choice, maybe after he came back from Northern Ireland, but never did. So now he's eating his dinner alone in Rules one evening and getting his car smashed to pieces the next. That makes me think that Bond and Mallory's conversation in Skyfall is more of a caution from one man to the other.

OR I could just be MASSIVELY overreading all of this.

#Spectre #Gareth Mallory #My headcanons have come out to play #Ralph Fiennes #James Bond #Character Study #M #M and his band of misfits save the world again #Skyfall

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a-secret-bolton-vampire · 3 years

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Bran Stark's Journey

Today I've decided to talk about Bran. He may not be the most beloved character, or the most exciting, but to me at least, he is a very interesting character and his path is very interesting. One revelation the show gave us (that was later confirmed) is that by the end of ASOIAF, he will be King. So today I wanted to talk about his arc, possible paths to kingship, and also about his abilities and what he might be able to do in the future.

Summer to Winter

A large theme in Bran's story is fear. In his first chapter (the first chapter in the entire series, not counting the prologue), Bran asks if a man can be brave when he is afraid, after Jon and Robb argue about the deserter's death, to which ned famously replies "that is the only time a man can be afraid". Later, during his coma dream, he becomes afraid to look down as he falls, crying, until the three eyed crow convinces him to look down at the world below him, and into the heart of winter.

Now you know, the crow whispered as it sat on his shoulder. Now you know why you must live. "Why?" Bran said, not understanding, falling, falling. Because winter is coming.

Upon waking from that dream, Bran wakes up and names his wolf Summer. Later, Bran listens to a story about the Long Night from Old Nan, telling her that his favourite stories are the scary ones. The dream has is rich in symbolic visions, but I think the most important take away from both that and the story Old Nan tells him is that Bran will need to overcome fear and take on the monsters and villains of those scary stories to help end the Long Night. His direwolf's name Summer also fits with this.

A literal summer child, Bran has never experienced winter and the horrors that come with it. Soon he begins to live out the stories he was told, traveling beyond the Wall in search of the elusive three eyed crow, dealing with wights along the way. In a way, the story of the last hero does work as foreshadowing for Bran's journey to the far north. When he joins Bloodraven, he is given advice for the future, that once again touches upon the theme of fear.

"Never fear the darkness, Bran." The lord's words were accompanied by a faint rustling of wood and leaf, a slight twisting of his head. "The strongest trees are rooted in the dark places of the earth. Darkness will be your cloak, your shield, your mother's milk. Darkness will make you strong."

Bloodraven is a man who has a very storied past, acting as Hand to several Targaryen kings, being an effective administrator (although he had some flaws when it came to dealing with the Blackfyres), and eventually rising to the level of Lord Commander of the Night's Watch. He sometimes did have to do dark things for the greater good, and he's teaching that same principle to Bran. Of course, going back to the theme of fear, he is also telling Bran to overcome his fear in order to do things that will help the world around him.

That is where we end with Bran as of ADWD, but thanks to both the show and GRRM, we have some idea of what happens with Bran next. One of the more shocking moments in Game of Thrones came in season 6 when it was revealed that Bran caused Hodor's disability in the first place by skinchanging him in the past, thus creating a time loop and sealing his fate as he holds the back door of the cave against the wights so he can escape. For Fire Cannot Kill a Dragon, a book about the production of the TV series by James Hibberd, GRRM expanded on what that meant and how it will play out in TWOW.

"It's an obscenity to go into somebody's mind. So Bran may be responsible for Hodor's simplicity, due to going into his mind so powerfully that it rippled back through time. The explanation of Bran's powers, the whole questions of time and causality - can we affect the past? Is time a river you can only sail one way or an ocean that can be affected wherever you drop into it? These are issues I want to explore in the book, but it's harder to explain in a show." Martin said the 'hold the door' scene in a forthcoming book will play out a bit differently than in the show. "I thought they executed it very well, but there are going to be differences in the book. They did it very physical - 'hold the door' with Hodor's strength. In the book, Hodor has stolen one of the old swords from the crypt. Bran has been warging into Hodor and practicing with his body, because Bran had been trained in swordplay. So telling Hodor to 'hold the door' is more like 'hold this pass' - defend it when enemies are coming - and Hodor is fighting and killing them. A little different, but same idea."

Varamyr's prologue in ADWD touches upon the various concepts of skinchanging, and how certain acts are considered abominations, including; eating the flesh of a person, mating in the skin of a beast, and entering another person's mind. While I don't necessarily think that Bran will commit the second one, it makes sense for there to be consequences for Bran's disregard for the rules. He may be only a child and not fully understand what is happening around him or how his actions effect his surroundings, but if he is becoming extremely powerful, he needs to learn to use it effectively while not becoming completely ignorant of how his actions effect people.

So, this as a consequence of his breaking of the rules of skinchanging makes perfect sense. What I think this isn't, however, is Bran becoming a villain, or Bran heading down a dark path that he won't come out of. If anything, this might actually have the opposite effect, and set him on a path to try to fix the sins he committed. Personally, I think that after this is when Bran will once again have doubts, this time in his ability to use his powers effectively. After all, he's a child, he's going to have strong emotions about this.

It makes perfect sense for him to suddenly fear his powers, realize what he's done, and try to reject that part of him out of fear of what he might do. But ultimately, it's part of a learning process, and something or someone will once again convince him to embrace his powers and use them for good, this time with his past mistakes now influencing better decision making. After that, he must face the true horrors of reality, the creatures from those nightmarish tales he loved hearing about, when the Long Night falls again. He must confront fear itself.

Greenseeing Powers

The show had Bran as someone who only used his powers to look far away and in the past, but greenseers in the books are much more than people sitting in a tree watching. They had all sorts of abilities, and Bran has demonstrated some of them. Others we learn from stories of the past. As a greenseer, Bran is a skinchanger, and an incredibly strong one at that, able to enter Hodor's mind on a whim. He can enter into ravens hundreds of miles south of the Wall, as demonstrated by the curious ravens cawing Theon's name in the TWOW sample chapter.

He can also enter and look through the weirwoods, and back at the past. Apparently, his seeing won't be restricted to the trees and eventually he can look even further without the need for them.

"Once you have mastered your gifts, you may look where you will and see what the trees have seen, be it yesterday or last year or a thousand ages past. Men live their lives trapped in an eternal present, between the mists of memory and the sea of shadow that is all we know of the days to come. Certain moths live their whole lives in a day, yet to them that little span of time must seem as long as years and decades do to us. An oak may live three hundred years, a redwood tree three thousand. A weirwood will live forever if left undisturbed. To them seasons pass in the flutter of a moth's wing, and past, present, and future are one. Nor will your sight be limited to your godswood. The singers carved eyes into their heart trees to awaken them, and those are the first eyes a new greenseer learns to use … but in time you will see well beyond the trees themselves."

And despite Bloodraven's insistence that Bran cannot change the past, it's very clear that is wrong. Bran speaks to Ned when he sees him and Ned visibly responds. Not to mention "hold the door" and going back in past Hodor's mind. Speaking of, Bran can seemingly communicate with the trees, and he has done so with Theon at the Winterfell godswood. First, during the night of the Pink Wedding, Theon hears something calling to him but finds nobody around. True, might be he's been driven psychotic by the torture at Ramsay's hands, but it becomes a bit more real later on.

The night was windless, the snow drifting straight down out of a cold black sky, yet the leaves of the heart tree were rustling his name. "Theon," they seemed to whisper, "Theon." The old gods, he thought. They know me. They know my name. I was Theon of House Greyjoy. I was a ward of Eddard Stark, a friend and brother to his children. "Please." He fell to his knees. "A sword, that's all I ask. Let me die as Theon, not as Reek." Tears trickled down his cheeks, impossibly warm. "I was ironborn. A son … a son of Pyke, of the islands." A leaf drifted down from above, brushed his brow, and landed in the pool. It floated on the water, red, five-fingered, like a bloody hand. "… Bran," the tree murmured. They know. The gods know. They saw what I did. And for one strange moment it seemed as if it were Bran's face carved into the pale trunk of the weirwood, staring down at him with eyes red and wise and sad. Bran's ghost, he thought, but that was madness. Why should Bran want to haunt him? He had been fond of the boy, had never done him any harm.

Bran also seems to have the ability to awaken others skinchanging powers, even when he was not entirely aware of it. Take the wolf dream Jon has while in the Frostfangs.

When he closed his eyes, he dreamed of direwolves. There were five of them when there should have been six, and they were scattered, each apart from the others. He felt a deep ache of emptiness, a sense of incompleteness. The forest was vast and cold, and they were so small, so lost. His brothers were out there somewhere, and his sister, but he had lost their scent. He sat on his haunches and lifted his head to the darkening sky, and his cry echoed through the forest, a long lonely mournful sound. As it died away, he pricked up his ears, listening for an answer, but the only sound was the sigh of blowing snow. Jon? The call came from behind him, softer than a whisper, but strong too. Can a shout be silent? He turned his head, searching for his brother, for a glimpse of a lean grey shape moving beneath the trees, but there was nothing, only . . . A weirwood. It seemed to sprout from solid rock, its pale roots twisting up from a myriad of fissures and hairline cracks. The tree was slender compared to other weirwoods he had seen, no more than a sapling, yet it was growing as he watched, its limbs thickening as they reached for the sky. Wary, he circled the smooth white trunk until he came to the face. Red eyes looked at him. Fierce eyes they were, yet glad to see him. The weirwood had his brother's face. Had his brother always had three eyes? Not always, came the silent shout. Not before the crow. He sniffed at the bark, smelled wolf and tree and boy, but behind that there were other scents, the rich brown smell of warm earth and the hard grey smell of stone and something else, something terrible. Death, he knew. He was smelling death. He cringed back, his hair bristling, and bared his fangs. Don't be afraid, I like it in the dark. No one can see you, but you can see them. But first you have to open your eyes. See? Like this. And the tree reached down and touched him. And suddenly he was back in the mountains, his paws sunk deep in a drift of snow as he stood upon the edge of a great precipice. Before him the Skirling Pass opened up into airy emptiness, and a long vee-shaped valley lay spread beneath him like a quilt, awash in all the colors of an autumn afternoon.

And we know that this was real because later...

Here in the chill damp darkness of the tomb his third eye had finally opened. He could reach Summer whenever he wanted, and once he had even touched Ghost and talked to Jon. Though maybe he had only dreamed that.

Nope, not a dream. That was real. It's almost scary to imagine how powerful he is if he awakened Jon's abilities unconsciously from so far away. Of course, greenseers can also have prophetic dreams of the future, in addition to visions of the past. Greenseers seem to have no limit on what animals they can enter, too.

"The greenseers were more than that. They were wargs as well, as you are, and the greatest of them could wear the skins of any beast that flies or swims or crawls, and could look through the eyes of the weirwoods as well, and see the truth that lies beneath the world."

The hunters among the children—their wood dancers—became their warriors as well, but for all their secret arts of tree and leaf, they could only slow the First Men in their advance. The greenseers employed their arts, and tales say that they could call the beasts of marsh, forest, and air to fight on their behalf: direwolves and monstrous snowbears, cave lions and eagles, mammoths and serpents, and more.

We must also talk about Coldhands, a very curious person indeed. He is a wight, but he can speak and do as he pleases himself, lacks the blue eyes of ice wights, and has lots of ravens following him. Personally, I believe Coldhands was one a member of the Raven's Teeth, Bloodraven's personal escort who joined him on the Wall. Is Bloodraven now using the body of a dead man for his own purposes? Is he skinchanging into a corpse and it's actually Bloodraven speaking through him?

We don't exactly know how the Others are controlling the wights, but it makes sense for them to be in some way related to skinchangers and greenseers. if that is the case, does that mean greenseers hold this power too, albeit in a different way? There is also this interesting tidbit from Asha.

She thought back to a tale she had heard as a child, about the children of the forest and their battles with the First Men, when the greenseers turned the trees to warriors.

The trees to warriors? Who knows what that means. Although I think it is time to consider exactly how the use of greenseeing and weirwoods could effect Bran. Unlike most gods, it seems the old gods are indeed real... but they aren't exactly literal gods.

"A reader lives a thousand lives before he dies," said Jojen. "The man who never reads lives only one. The singers of the forest had no books. No ink, no parchment, no written language. Instead they had the trees, and the weirwoods above all. When they died, they went into the wood, into leaf and limb and root, and the trees remembered. All their songs and spells, their histories and prayers, everything they knew about this world. Maesters will tell you that the weirwoods are sacred to the old gods. The singers believe they are the old gods. When singers die they become part of that godhood."

Bloodraven doesn't seem to be entirely all there at the end either. We know there is a consequence of skinchanging too much, becoming more beast than man. Entering the weirwoods could have its own unique, but similar effect. The more you enter, the more you might mingle with the spirits inside the trees.

Let's look back at an early novella GRRM wrote, called A Song for Lya. In the novella, two telepaths, Robb and Lyanna (yup) travel to the planet of Shkea and learn about the inhabitant aliens, the Shkeen, worshipping a giant parasite called the Greeshka, which is an amalgamation of different peoples consciousnesses mixed together as some sort of afterlife.

Robb and Lyanna are a couple, and despite their telepathy allowing them to be closer to one another, Lyanna still feels lonely. When contacting the minds within the Greeshka, she learns that many people have found their loneliness vanished upon joining the Greeshka. After a fight with Robb, Lyanna allows herself to be consumed by the Greeshka before contacting Robb as he dreams and telling him to join her, only for him to reject.

There are quite a bit of similarities between this and how the weirwood afterlife functions. While the thematics of the two stories are rather different, Bran is a telepath, and he is entering into what is essentially the afterlife with many different consciousnesses inside of it. The idea that he becomes a little less Bran and a little more absorbed into this afterlife hivemind makes sense, although I don't think that we will see it quite the same way the show portrayed.

King Bran the Rebuilder

"Archmaester Rigney once wrote that history is a wheel, for the nature of man is fundamentally unchanging. What has happened before will perforce happen again, he said."

ASOIAF has a lot of events in the main series that parallel those in-world historical events, and those historical events might even be foreshadowing for the future. So it might not come as big of a surprise that Bran becoming king at the end sort of acts as a parallel to Bran the Builder. Bran the Builder was supposedly the first Stark King of Winter who emerged after the Long Night, built the Wall, Winterfell, and supposedly Storm's End and the Hightower. Likewise, Bran is the first new king emerging after the Long Night, and given how broken the realm will be at the end of the series, it will be his prerogative to try to rebuild it and make it function again. So, Bran the Rebuilder.

But again, the circumstances are a bit different. Bran the Builder became a King of Winter, but apparently Bran is going to end up as King of Westeros. Isaac Hempstead-Wright said:

"David and Dan told me there were two things George R.R. Martin had planned for Bran, and that was the Hodor revelation, and that he would be king."

And in Fire Cannot Kill a Dragon, GRRM says:

GEORGE R. R. MARTIN: It wasn’t easy for me. I didn’t want to give away my books. It’s not easy to talk about the end of my books. Every character has a different end. I told them who would be on the Iron Throne, and I told them some big twists like Hodor and “hold the door,” and Stannis’s decision to burn his daughter. We didn’t get to everybody by any means. Especially the minor characters, who may have very different endings.

This does come as quite a shock, and it is admittedly difficult to see how this will happen. However, while the show was extremely disappointing, I am willing to give GRRM a chance to show us how we get there. Narratively, it does make a certain amount of sense, since Bran was the first character George created and the first POV character whose chapter we get, so for it to end with him is a good circle.

Thematically, I think there is a certain view of why this ending for Bran fits. For starters, I don't think magic is going to go away like a lot of people predict, but come to stay. In contrast to the way The Lord of Rings ended, King Bran seems to suggest some sort of more magical world. Not to say it will be super high fantasy, but magic will be more common. A magical kingdom, a magical king. What better way to usher in a new era in Westeros?

Bran also has a deep connection to the weirwoods. If the First Men cutting down the weirwoods was a metaphor for humanity's current destruction of the environment and climate, then Bran being king might be a metaphor for humanity coexisting with nature. Admittedly, I'm not saying that is 100% what King Bran means, I'm mainly just suggesting ideas on what it could mean, given we have no real context behind it other than what were were told and the last two books have yet to be released.

I dislike the reading that Bran as king is dystopian and that he would be enforcing a "police state" and that only a "god-king" could be a good leader. Or even further, that Dany and Bran's endings mean "revolution bad, big brother king good". Disregarding what Dany's ending means being, in my opinion, irrelevant to her status as a revolutionary, these takes always presume that King Bran has to be one way and has to be evil. That Bran having such immense power means that it's going to be the worst case scenario. Why can't it be more hopeful? The series isn't ending nihilistically, it's ending bittersweet.

Bran can look into the past, he could learn about the past mistakes people have made, and learn from it to make better decisions in the future. Sure, he could spy on people far away, but I don't think it's really Big Brother-esque. When you live in a world not so technologically advanced, it might help to learn info from far away much quicker.

That said, how Bran's ascension occurs is a mystery. The show hand-waved it away as just "he has a good story and that will unite people", which is... weak to say the least. Also there is the fact that he is effectively proof of the old gods, and a wizard with immense powers, which might alienate people in the south, or just outright scare people because he's capable of so much and they don't understand and find it scary. He's also going to be a kid, and he has no claim to the Iron Throne.

I will end this post with some suggestions for how this could happen. Nothing concrete, but some ideas of how we might get there. For starters, Bran has to amount to something, unlike the show. He did practically nothing but act as bait. But GRRM is not shy about showing magic, so the magical components of his story are definitely going to play a larger role. Since there is set up for it, Bran having a large role in ending the Long Night could indeed make him a hero of sorts to people, and make him be respected. As a disabled person in a very ableist society, people won't inherently trust or like him.

It's also possible that if Daenerys ends up dead and Jon is exiled, that through some technicality, Bran could be viewed as a sort of heir. Jon is both Targaryen and Stark. With the other Targaryens all but gone, the closest relatives to the final living Targaryen being Starks might give Bran a chance to be selected as king. We could also see Sansa or someone else trying to maneuver events politically to help Bran gain the throne, especially if she sees him as the best option for Westeros in the long run. A Great Council being called makes sense too (not the laughable "council" in the show).

But these are all just ideas I'm throwing at a wall. It's important to keep in mind that a lot of what I'm proposing is mainly just my own interpretation of the text. I'm flawed, I might not always make sense. It doesn't help that we don't have the last two books yet, and the show was a badly pasted together cliff-notes version, so we are left in the dark about a lot.

#asoiaf #asoiaf meta #bran stark #the winds of winter predictions #a dream of spring predictions #king bran

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chronicasexual · 3 years

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If you wouldn't mind bestie, I'm gonna need that essay on the tdm movie.

inhales

ok here we go

Firstly, the interactions between Ruby and Liam felt so awkward and forced, which was nothing like their very natural bond in the books. It fell into the same problem of many dystopian and/or ya stories which try to force two characters together simply because they exist near each other's vicinity. I still feel mortified watching the scene in the movie where Liam said "iS tHaT wHy yOu dIdn'T wAnT tO kIsS mE." No hate to the actors, it's obvious they weren't given much to work with. Because of this, we never got to see those intimate moments between them felt so raw and comforting. The little things like Ruby instinctively reaching out to touch Liam's face and trying to pull away because she's anxious about her powers, but Liam keeps the hand there and says "Nope, mine now." Or the time she tells him that the space between them is a no-lie area (I can't remember the exact quote but you get the gist). The movie tries to fit their entire love story into an hour and a half and fails to do it effectively, to the point that I can't even understand how they fell in love at all. Oh and bonus cringe moment the scene at East River when everyone's dancing and they compare it to Hogwarts (bestie in what world????? if anything it's similar to camp half-blood) and they call each other Ginny and Harry or something like that before realising that the two end up together felt so unnecessary???? It made them so much more awkward than it needed to be and was obviously set up to make them feel embarrassed but also interested in each other.

Complaint two. Literally, what was the reason for making Chubs a Green? Is it not possible to be smart without a power to make you so? Chubs isn't smart because his ability made him that way, he's just smart because he is and even though he doesn't really admit it because it sounds unrealistic in their situation, he craves a further education. His powers never influenced him as a character, and he only used them two or three times overall. If anything it just played into the stereotype of the kid with glasses being the nerdy character who was also used as comic relief. (also maybe a slight loophole but if Chubs had been a Green wouldn't he had worked out EDO a lot quicker than Ruby did, because there's literally no reason for him not to have done so).

Mini rant but why did the movie make Ruby go back to her parents when she very clearly knew by now that she had erased herself from their memories. She knew they wouldn't recognise her. She had literally no reason to return and basically a waste of like five or ten minutes in the movie. And that small toy?? Maybe it's just me, but I don't get why it was so significant? Was it some sort of advertisement? idk

Also the eyes. The stupid glowing eye thing. Nowhere in the books did it mention them having LED eyes and NO ONE in the movies even brings up the fact that they have glowing eyes when they use their abilities. It's an unnecessary detail. Woudn't you think it would be super easy for PSFs to discover if someone was secretly an Orange hiding as a different colour at Thurmond if they just saw their eyes go orange when they activated and just shoot them🤡. Anyway, not to throw shade but instead of wasting the budget on making their eyes glow they could have actually given Sam a tiny bit more story instead of nothing, or including the bit about Jack and the letter, just saying :)

One final point probably because if I don't stop now I'll be here for ages and it's late but maybe I'll rant some more tomorrow. The movie removed so many compelling plot points that made the story what it is and removed details that were important to explanations. Movie Cate's explanation of "No kids, no economy." isn't accurate because in the book we find out a bunch of other things that happened whilst Ruby was at Thurmond that have led to the collapse of the economy. Sam? Removed. Martin? Removed. Jack? Removed. Ruby's mini argument over almost reading Jack's letter with Liam before having a deep conversation with him? Removed. Alongside a lot of other important thing. The movie feels so empty? It doesn't have much storyline to it, I get that the book was long but they removed so many things that it's an empty shell of what it could have been. The movie is kinda bland ngl. (apologies to anyone who may have enjoyed the movie. although if you did you probably never read the books)

One final final point because I just thought of it on the spot. Chubs saying "I knew you were Orange" very smugly makes no sense. Like. No. You. Didn't? She literally didn't show any signs of being an Orange to them and just existed. I know Greens are smart but he had nothing to infer that from. Actually maybe the glowing eyes gave it away my bad 🤡🤡🤡

#as you can tell im a little pissed #thanks for coming to my ted talk

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pointnumbersixteen · 3 years

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My Personal Ranking of Ghosts Episodes and Why

So, here’s my personal order for all the current Ghosts episodes, from best to worst, with a bit of an explanation as to why I think so. I included who wrote each episode because the writing pairs tend to have consistent strengths and weaknesses that affect my enjoyment. These are, of course, just my opinions, and I recognize that different people have different tastes.

1) Moonah Ston (Larry and Martha)

This episode is hilarious and it continues to be hilarious through multiple viewings (some of the jokes in other episodes start to wear thin after multiple viewings, but this one remains entirely solid through dozens of rewatches). Barclay and Bunny are my favorite guest characters throughout the show. Also some of my all-time favorite bits are in it: Cap stealing Thomas’s role doing the reading, the shooting of the pheasant with Cap, everything to do with Mary and the cooking of the pheasant, the way Alison yeets the pelaverga as soon as it’s handed to her, the juxtaposition of the eclipse ritual and the dinner party, Bunny’s ‘sobriety test.’ Also, there’s a strong A plot and a strong B plot that tie together, and all of the characters are fit into these two plots well, which is something the creators sometimes struggle with.

2) Getting Out (Mat and Jim)

I love everything about the Captain’s portion of the plot and it’s a nice big portion, too. His scene with Kitty is one of my favorite scenes in the show, brilliantly written, well-acted, and gorgeously shot. I can feel for Mike and Alison in it. Fiona’s another really funny guest character. My only major complaint is that the plot with other ghosts after the Captain’s left the group starts to drag after enough re-watches, particularly Thomas’s bad erotica and the jewel scene. I found both very funny on the first several watches, but the payoff to both is ruined with enough rewatches. With the first, the payoff is with how surprisingly bad for a ‘professional’ writer his story is, but after you’re well aware that Thomas is a bad writer, it’s just listening to bad writing over and over again. And the bit with Fanny’s jewel has such a long lead up, to get to the surprise payoff that the jewel was secretly pawned by George forever ago, but once you know the jewel is gone, the long lead up gets progressively more tedious with every watch. At least for me.

3) Reddy Weddy (Ben and Simon)

I’ve written extensively about this one before, so I won’t include much, but: I love everything having to do with the Captain in this one, particularly the completely wonderful flashbacks with Havers. Mike and Alison were very well done, and I enjoyed Martin as a guest character. But I really didn’t like the whose-turn-is-it-to-pick-the-movie subplot, it just seemed sort of unnecessary to me and detracted from the tone of the rest of it. I assume they just had trouble finding a better integrated role for Pat, Thomas and Julian, which, as I said under Moonah Ston, is an occasional weakness the creators had.

4) Gorilla War (Larry)

I love Cap’s campaign of attrition. And his singing. Everyone had solid, funny bits, all tied into one main plot in it. Mike and Alison are both well done in this episode. It’s the first episode where Alison is able to interact with the ghosts and I think they did a great job capitalizing on her coming to terms with it and Mike’s such a supportive husband in it.

5) About Last Night (Mat and Jim)

I love the spat between Cap and Pat in this one, because the focus of their subplot is their relationship dynamic and I enjoy their relationship dynamic- even though it’s close to the breaking point in this instance, all is well because they make up in the end. Everything about the state of the house and trying to remember what happened to it-as well as the flashbacks to the party- is pretty funny. The bits with Dante were very funny as well. The Robin-Mary subplot was a bit meh for me, but I didn’t dislike it, I’m just not sold on the idea. I didn’t enjoy Mike being sidelined on the roof for most of the episode when Alison needed his help and all the criticism he got from the other characters for not being around to help Alison, though.

6) Who Do You Think You Are? (Mat and Jim)

This is a really strong introductory episode with some good, funny bits in it, but it doesn’t rank higher since the ghosts can’t interact with Alison yet and Mike and Alison don’t know they’re there, which is where a lot of the fun of the concept of the show comes in to me.

7) Bump in the Night (Larry and Martha)

The robbers were funny as were the ghosts’ utterly inept attempts (save Robin) in stopping them. I loved music club, particularly the Captain’s performance. I appreciated the return of Barclay and his bitches. Humphrey was actually reasonably included in the plot, which is always a nice change. There weren’t any bits I found particularly outstanding (except maybe Cap’s musical performance) but there weren’t any major bits I disliked, either. Everyone’s included in one main plot and it continues to be just as enjoyable on rewatches.

8) The Thomas Thorne Affair (Mat and Jim)

I greatly enjoy examine-the-story-from-multiple-viewpoints-to-illustrate-unreliable-narration plots, so that went well in this episode. I also really like regency romances, so this ticked another box for me. Humphrey was given an important bit again, which I appreciate. The bit about Francis was a nice twist at the end, because otherwise it would have been a bit too predictable, with Thomas being shot in a duel over a romantic misunderstanding- that was the most obvious solution to his death, after all. It felt a bit contrived, though, that the characters who died after Thomas all went to the group meeting on time, while the characters who witnessed Thomas’s death were all still wandering around upstairs and just happen to wander into Alison’s room in time to contradict the last telling of the story and provide the next. And of course, the fact that half the cast is just sort of sitting downstairs waiting for a significant portion of the episode always seemed a bit lacking to me. Also, Mike starts the episode being unusually stupid (not knowing Elizabeth II is the current queen- at least in the US, not being able to answer who the current President is frequently used as shorthand for ‘having brain damage’) and spends the rest of it being insecure about Alison’s ex (this seems to be a Mat and Jim thing).

9) Perfect Day (Mat and Jim)

I loved all the Cap bits in this. Pat’s plotline was good, too. Humphrey actually had a substantial role, which I appreciated, and more so since he actually managed to bring Fanny around to the gay wedding. I was of course thrilled that it was a lesbian wedding. But I’m not a fan of ‘miscommunication causes drama’ plots in any medium and I disliked how once again how insecure Mike is in this episode (Mat and Jim again) and how poorly he handles it.

10) Happy Death Day (Ben)

I love all the Pat bits. I liked the interactions between the Captain and Julian, they had a really enjoyable dynamic in this one, although they’re being rather disappointing human beings in their plotline. I like Kitty’s plotline, too, and the garden scene between her and Fanny is very funny and beautifully framed. I don’t think this episode did a particularly good job with either Mike or Alison, though. Mike ditches his probably still concussed wife who is plagued by ghosts to manage the building work he started because he’s spending hours a day out of the house because there are too many people in it and he’s apparently potty-shy and Alison thinks trying to convince people to do probably thousands, if not more, pounds worth of free labor by making them tea is both a plausible idea and an appropriate thing to even try (it’s bad enough when the people asking you to do free work for them are actually your friends, contriving a friendship in order to do this just sort of seems a bit contemptible to me). Some of the jokes get less funny with time- Fanny with the butt cracks, for instance. I considered the Thomas subplot another weak ‘well, something needs to be done with this character’ subplot and I can’t even remember off the top of my head what Mary was doing most of the episode despite having seen it at least a dozen times, besides the bit where Alison throws the teacup at her head (and if I were Terry, I would have called it quits then).

11) The Ghost of Christmas (Ben and Simon)

Mostly fluff, and a decent amount of it was rather predictable fluff, but I’ve written more on that elsewhere. Mike’s sisters were the worst. I was hoping Ben would write himself a bigger role and he didn’t. In the Bleak Midwinter was gorgeous, though, and there were enough smaller bits that I found endearing to prop it up over the next two.

12) The Grey Lady (Larry and Martha)

I enjoy the ghosts’ routine as shown at the beginning of the episode. I found Pat’s radio show amusing. I liked the basement scene with Nigel. I wasn’t a huge fan of the Captain’s ‘stretching’ subplot (although I do greatly enjoy his ‘for king and country’ running), it just seemed a bit silly to me, like they couldn’t decide what to do with him for most of the episode, so went with ‘eh, squats, I guess.’ Also, I feel like they had trouble placing Mary and Kitty, too. Mary spends a lot of the episode staring at a wall and Kitty spends all of it just following the group and occasionally wailing about the ‘ghost-ghost.’ Also, I think Alison went a little too far with her simulated haunting when she dressed up as the Grey Lady; it wasn’t smart because there was no way she was going to get away with it after anyone turned on the lights and it seems a bit more like attempting to defraud people than the rest of it did.

13) Free Pass (Mat and Jim)

Alison actively puts people in danger for money, misrepresenting the house as structurally sound in order to get a movie contract, when in fact the floors are held up by hope and happy thoughts and could (and eventually do) cave at any moment. If the floor had fallen through in the letter scene, before Mike braced it, when they were using the heavy equipment, there likely would have been serious injuries. Also: Toby Nightingale is the worst. Also: the solidity and supportive nature of Mike and Alison’s relationship is the best part of it and I dislike the choice (Mat and Jim again) to make him so insecure in this episode (this was the first in the episode order to do so).

To speak on general tendencies, though: I’m not a fan of doing morally questionable things for monetary reasons unless the situation is life or death, so all of the episodes where that’s Alison’s primary purpose get major demerits from me. That’s a matter of personal taste, but there I am. As for the writers (I recognize they all come up with the general story arcs together, but the writing pairs are responsible for execution), everyone struggles a bit sometimes to get solid roles for everyone into the plot, to be expected when the cast is so large, but some instances are worse than others. I think Larry’s (well, Larry/Martha for most of them, but they’ve both joked that mostly she drinks and he writes when they’re working on their episodes) still the strongest writer in terms of having mostly cohesive plots that standup consistently as solid to multiple viewings, but he also has the most experience as a writer, so that’s probably to be expected. Ben and Simon have both stated that they like jig-sawing a bunch of little plots together to make an episode, and while it is a bit impressive that they can make episodes with like, nearly as many plotlines as characters come together to make one reasonably sane episode, I find this strategy detrimental in that to me, when they do this, there’s always one or two plots that are really, really good, a few plots that are pretty good, and then one or two plots that I just don’t enjoy, that to me drag down the rest of the episode (most apparent in Reddy Weddy, but it happens to some degree in all of their episodes). My major criticism of Mat and Jim is with the way they write Mike. I actually really like Mike when he’s well done, but his portrayal seems to vary a lot between episodes, and (with the exception of Ben’s Happy Death Day, but his problems in that one are different) the episodes he’s written the weakest in are all written by Mat and Jim. They’re the only ones who I think write Mike as insecure in his relationship with Alison and his most incompetent and/or useless moments also tend to be written by them. I don’t know if they have a slightly different concept of Mike’s character than the other four or what, but I think Larry/Martha and Ben/Simon’s portrayals of him tend to be significantly more flattering.

#bbc ghosts #everyone and everything #i intended this to be short guys #but i got caught up #and over three hours and 2200 words later here we are

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im-the-king-of-the-ocean · 4 years

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Uh... can you do 14 please????

14. “I-I miss your arms around me as I slept, I know it’s embarrassing but you made me feel safe.”

Okay, so a bit of an explanation. What happened here is that the first idea I had was a scene from Jon’s pov where he’s traveling for some kind of academic event thing and misses Martin while he has to sleep alone in a hotel. Short and sweet.

It then sort of took a turn as I was trying to figure out when in canon to set it, and got overblown into this thing where Jon and Martin did successfully change the world back from the apocalypse, but it took severing the connection between Jon and the Beholding, which erased all Jon’s memories of ever working at the Magnus Institute and, you know, Martin.

So now Jon is sort of an amnesiac who believes he spent the 7 years between 2011-2018 in a coma and Martin is trying to look out for him from afar (while also trying not to do anything that would bring back Jon’s memories, and thus the Beholding/the entire apocalypse).

anyways, yeah, here’s a fic? that I may continue? I have no idea tbh

Jon meanders over to the hotel bar, where he quietly orders a drink he has little intention of actually consuming. Such things tend to be the expected norm at these events. Jon doesn’t particularly want to stand out. He holds the glass he’s given in one hand, and turns to face the room. He observes the crowd carefully, although he is unsure what it is exactly he’s looking for. No one seems particularly unusual or noteworthy, just the general collection of academics and scholar-types who usually show up to conventions like the one he’s attending. Dreadfully dull, the lot of them.

At the same time, Jon can’t shake the thought that he’s supposed to be looking for something. Someone? He’s not sure. He’s keenly aware of the feeling that something’s missing. Something extraordinarily important. What it is, he can’t say. All he knows is that it’s not there and it’s supposed to be and that bothers him a great deal.

He shakes his head, sighs, places his untouched drink down on the bar, and decides to call it a night. There’s hardly a point in him being at a networking sort of event anyway. He has a perfectly good research position lined up at the Usher Foundation in America, which he’ll leave for in a matter of days.

Not that the Usher Foundation is Jon’s first choice of employer, but it’s a suitable enough one. Jon understands the Magnus Institute, who he’d much prefer to work for, is going through a bit of a struggle. After the disappearance, and later revealed death, of their former Head Archivist, Gertrude Robinson, the imprisonment, disappearance, and probable death of former Head, Elias Bouchard, and disappearance of his temporary replacement, Peter Lukas, it would be absurd to assume the Institute isn’t going through a troubling time.

However, considering all of that and the recent terrorist attack on their premises, Jon would have thought they’d be more open to fresh applicants, since it can’t be easy to draw in new staff considering. Not that he’s normally the type to use such tragic circumstances to his advantage, but, ever since he heard the name of the Magnus Institute on the news, Jon has felt a pull to it.

It strikes Jon as strange that he hasn’t applied for a job there in the past. The Magnus Institute is exactly the sort of place he could see himself at. And, despite having no recollection of it, he had the strongest feeling that he’s been there before too. It feels so very familiar.

So, Jon sent in his CV confident he’d be accepted for a position. Instead, he received a surprising letter from the new Head, Martin Blackwood, himself, politely stating that the Magnus Institute could not, under any circumstances, offer Jon employment at this time. However, Mr. Blackwood understands the uncertainty of Jon’s situation and has arranged a research position across the pond at the Usher Foundation for him.

It had been odd. Jon had been careful not to disclose his, well former now, condition to anyone he didn’t have to. He has no interest in prying questions in to what it’s like to be in a coma for seven years, or the pitying looks that come when people realize he’s missed out on such a significant chunk of life. Yet, Mr. Blackwood, who Jon is sure he’s never met before, addressed him with a casual familiarity unheard of in such letters and went out of his way to find a job for Jon, like he knew the details of Jon’s medical history and current issues with putting his life back together after such a long gap.

Jon accepted the position, of course. His financials aren’t in a state he could do much else. It bothers him, though. He wants to ask why. Why help him? What is he missing?

Jon shoves his hands in his pockets, and makes his way over to the lift. It hardly matters now. Soon, he’ll be in another country entirely. Far, far away from Martin Blackwood, and all the peculiar things he feels at the mention of that name. It will be good, perhaps, to get away for a while and clear his head.

At least that’s what he’s been telling himself.

Before the lift doors close behind Jon, someone else hurries in. A man with curly hair. He looks at Jon, and then quickly averts his gaze. Jon pays him no mind. All he cares about right now is going to his room and getting some sleep.

The man takes a sharp, quick breath, reaches forward, and hits the emergency switch. The lift screeches to a halt, jostling both men.

Jon stares at the man, confounded. “What did you do that for?”

“I, err, got nervous? Sorry!” Despite speaking an apology, the man, who now looks vaguely familiar to Jon, isn’t looking at him but his phone, as if intently waiting for something. “You know me, always messing stuff up,” the man continues with an awkward laugh.

“No. I don’t know you.” Jon grumbles. “I’ve never seen you before in my life.” And he hasn’t. Despite that odd feeling of familiarity again, he’s sure he’s never met whoever this is before.

The man stares at him, blinks. “Right, no, of course you haven’t. Sorry.” He gestures with his phone. “I’m on with, err, maintenance, and they should have everything sorted out soon.”

And they do. In a matter of minutes, the lift is moving again. They reach Jon’s floor and he’s more than relieved to get out. So relieved, in fact, he doesn’t notice the scorch marks on the hallway wall that indicate a fight of some kind recently took place there. One which he wouldn’t have been able to avoid if the lift hadn’t been stopped.

Deep into that night, Jon wakes with a start and wonders at the emptiness of the other side of his bed and why he doesn’t feel the man’s warm, comfortable embrace around him, protecting him. He puzzles over that, over the fact someone he knows he’s never known could, in theory, make him feel safe.

Jon doesn’t get any answers. He just continues to feel like something’s missing.

#the magnus archives #jonmartin #martin blackwood #jonathan sims #whirls writing #Anonymous

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tea-at-221 · 4 years

Text

The TJLC Debacle: 3 years out from S4 and counting; the copyright mini-theory; so much salt I’m bloated; but in the end, there is peace (I love you Johnlockers)

Ugh, don't even talk to me about Mary.

Don't even talk to me about the way Mofftiss have said they're sick of responding to fans on the subject of Johnlock. Of how they've said they're "not telling anyone else what to think or write about them" (as if they could stop us; as if they even own Sherlock themselves. Do keep reading, because this point becomes much more relevant and in-jokey later on). Don't even mention how they've bitched and whined incessantly because--god forbid--fans got *really really* into their show and emotionally invested.

They're so eager to discount all the beautiful little moments they wrote as accidents. And Arwel, who planted all those props, continually demonstrates that he's on their side (a not-very in-depth-analysis of his Instagram account and the way he interacted with fans towards the beginning of the pandemic showed as much, but I think maybe he’s grown a bit wiser and quieter since at least in terms of Johnlock and all things elephant-related. I don’t know for sure because I stopped looking.)

Anyway--they'd actually prefer for us to celebrate our own intelligence, is I suppose a charitable way of looking at it: our ability to make connections between things in the show; our metas on symbolism; our insightful fanfic; etc., and denounce them as the bad writers that they ultimately are.

More under the cut.

(This post may be of interest to you especially if you came to the fandom a bit later: multiple links to things of relevance/quotes/explanations appear both within and at the end of this entry.)

Because what makes a writer good?

Well, an ability to make people feel an emotional connection to their work, for one. I know this is just my own perspective, but if not for Johnlock, all my emotion about the show would evaporate. There wouldn't be much else there. Other people might get something, but I wouldn’t. Is some of the writing witty and entertaining regardless of any inferred/implied Johnlock? Yeah but, eh, a lot of shows have some good writing and I just don’t give a damn about them.

What makes a writer good?

Not making promises to the reader/viewer that they'll never keep. Plot holes, leading dialogue ("There’s stuff you wanted to say...but didn’t say it.” “Yeah”) never followed through on, puns that are apparently, I suppose, unintentional (e.g. "'Previous' commander?" "I meant 'ex'").

Uh, not writing continual gay jokes that aren't actually pointing toward the inference that people are making them because there's actually something going on there under the surface. (How about just don't make those jokes ever.)

Not being, apparently, oblivious (? questionable) to the queerbaiting they're engaging in *as they’re writing it.*

Acting like their LGBT audience is in the wrong/the bad guy, instead of choosing to remain respectful in the face of dissent. Instead it's just, "we never wrote it that way" / "We never played it that way."

A lot of those other mildly witty shows don’t actually blatantly drag their most passionate fans face-down through the mud the writers themselves created. Imagine that.

I'm not even a fan of Martin Freeman anymore, for the way he handled the whole thing (getting angry, the comments he made about how the fans made Sherlock “not fun anymore”...apparently Martin’s packing up his crayons and going home?)...no offense to anyone who is still a fan of his. I don’t make it a habit to drag him. I do to some degree understand his frustration with having the whole situation taken out on him--he’s just an actor in the show--but I simply wish he’d remained as cool and professional about it as Benedict Cumberbatch instead of pointing at the fans. You’re pointing in the wrong direction, mate.

What also irks me at the end of the day is this: the subsection of people who legitimately responded badly to the TJLC/S4 debacle and went above and beyond to harass the writers and actors/actresses on social media are *few and far between*, but we've been lumped in with them by what feels like...everyone, Martin included. TJLCers/Johnlockers (not the same group, but often treated as such) have been made to look like a bunch of rambunctious, immature, demanding children time and time and again in the wake of S4.

They'd rather, what, suggest John was so in love with Mary? THAT was the relationship they wanted to uphold in that show as so significant and...what, a demonstration of how honorable it is to respect your heterosexual relationship despite, you know...ANYTHING?

Yeah sorry, I don’t believe in that. John’s text-based affair, whether a disappointment for some as to his supposed character, was a very human reaction and I kinda sorta feel like I would have reacted MUCH more strongly than that had I been John. But nope. He stayed with Mary and was *ashamed* of his wandering eye. Ashamed that maybe he wanted to be admired by someone. I can’t think of a scene, off the top of my head, where Mary ever interacted with John without belittling him in some way--if not with words, then with consistently patronizing glances.

The message here is that heterosexuality is not just acceptable, but VALUABLE, however it manifests--but god forbid anyone see a queer subtext. (Why are lgbt+ writers some of the very WORST offenders where this is concerned? And they defend it! Is this childhood nostalgia/Stockholm Syndrome of the very fondest variety or what? Gay angst is all they got if they got anything at all, so it’s still good enough as far as “representation” goes?)

They really want to tell the story of John as so emotionally/mentally fucked up that he surrounds himself with unstable people time and again. They never give any reason *why* he might do that (which they could have done even soooo subtly), or delve into his past--just, apparently it's okay to assume that Sherlock's comment about "she's like that because you chose her" is exactly that.

No. Sherlock and Mary are NOT the same. Not...*remotely*!

Mary is underhanded and evil. She lies. She manipulates. She schemes. Her “love” is based on selfishness, and her assumption that John is a simpleton and hers to mold. She's in it for herself.

Sherlock hides. He prevaricates. He feels. He loves John. He does fucked up things in the name of love, but always for the benefit of those he loves. When he screws up, which he obviously does, it’s painful to us as the audience because we see that it is painful for him when he recognizes and regrets it.

I have never seen Mary regret anything. Those crocodile tears at Christmas? More manipulation. Inconsistent with anything else we were shown about her as a character.

To even think for a SECOND that people could ship Mary and John and mentally condemn John for cheating on Mary AFTER SHE SHOT HIS BEST FRIEND...as if marriage is the be-all-end-all free pass in which every sin must be forgiven until the end of time...as if John broke any covenant with his wife beyond those she broke from the very moment she walked into his life *with an entire fake past.* Is just. Well. It's asking us to accept gaslighting as healthy, loving, normal, *preferable* behavior, so...given the source that message is coming from, it's all a bit meta.

THAT. Is insanity. Maybe Mofftiss are the sociopaths.

How these men could write characters they themselves understand so little (or tell us they understand so little because their emotional maturity has yet to surpass that of the average three-year-old’s), I will never know. I can only imagine that they have absorbed, by osmosis over their lives, real and nuanced human behavior...then churned it back out again in their writing unaware, a bit like psychopaths who teach themselves what "normal" people do so that they can pass as psychologically sound in regular society.

Remember, we *are* talking about men who do these sorts of things:

Moffat says that Sherlock is celibate and that people who claim he's misogynistic when he does things like make Irene Adler imply she's attracted to the detective (even though she's a lesbian) are, ironically, "deeply offensive" (despite lines like "look at us both" in Battersea. We aren't your therapists, Moffat--we don't care what you meant, we care what you said, and what you *said* was clear. *Implying* it does not let you off the hook).

Gatiss has proclaimed that "I find flirting with the homoeroticism in Sherlock much more interesting" than the idea of ever making a show addressing LGBT issues. (That link is to a reddit forum, and I can't find the original interview anymore, but I assure you I had seen the actual article myself ages back and can't find it online again now along with some of the Martin quotes I wanted to link to. And nevermind what Gatiss has done with LGBT shows/issues since--my focus here is on what he has said, versus what he and Moffat have since claimed regarding their queerbaiting.)

Here’s a transcript of this screenshot:

"...many people come up and say they didn't realise." Despite this lack of public awareness, being part of the gay community is clearly important to Gatiss: "The older I get the more I want to give something back. I mean, I keep meaning to do something." When asked if he'd be interested in making a series about gay issues his response was enlightening:

"No, I don't think I'd make a kind of gay programme. It's much more interesting when it's not about a single issue. And equally, I find flirting with the homoeroticism in Sherlock much more interesting. Of course this reflects the grand picture of everyone's strange make-up; there are good gay people and bad gay people. I wouldn't like to make an issue film around the culture of being gay."

Instead Gatiss' interest seems to lie in making a drama where sexuality is, if not mundane, part of the wider framework: "I'd quite like to do something about a quite happy, ordinary gay person who's just incidentally gay. For example, a three-part thriller for ITV where the lead character just happens to be gay; when they finally go home, say 45 minutes in, and they had a same sex partner. That to me would be genuinely progressive. It wouldn't be a three-part gay thriller for ITV. It would be that this character just happened to be gay."

--End article quote.

And instead, who is canonically gay in the series? Well, Irene Adler. The innkeepers at the Cross Keys. And perhaps most notably, the *villains*, because that's a helpful trope: Moriarty and Eurus are, in S4, both implied to be at least bisexual.

Any character should be able to be any sexuality, this is true. But can we have some main characters, the good guys, give some good representation? Can't we start making that the standard, rather than the villains and the background characters? Because so far, that is the exception and not the rule.

Writers need to be aware of the damage they are perpetuating. We are not quite in a world yet where any character should be able to be any sexuality but isn't, yet we have no problem with saying the villain is LGBT+ or looks different/functions differently than much of the viewing audience.

"Male friendship is important and valid, not everything has to be gay"--this is a popular point with casual heterosexual viewers (and, to my chagrin, some of my LGBT+ friends) who don't fully grasp what "queerbaiting" is, often even when it's pointed out to them.

The lens of heterosexuality is real. My first time through watching BBC Sherlock, I didn't see the Johnlock at all. I had to look for it and read about it. When I saw it, the lens was lifted for me, and it changed my life and the way I view things forever (and for the best).

But back to my point about how little Mofftiss seem to understand their own story/most ardent fans, and then on to my other theory: in S4 it must be that they dropped their “psychopaths emulating empathy” act and indulged in their own "insane wish fulfillment" by doing away with all of the meaning, continuity, and sense. Right?

So, here’s the alternate theory. One which is not, please remember, in their defense.

Remember that S4 is what Mofftiss are *happy* to have us believe is what they'd do with these characters, given the chance to do whatever they wanted. I repeat, in Moffat’s own words: “Insane wish fulfillment.”

Okay I get it, this pasta has been over-salted.

Without further delay: MY COPYRIGHT RESEARCH THEORY THAT EVEN I DON'T PUT MUCH STOCK IN AND WHICH DOESN’T MAKE UP FOR THEIR CRUELTY EVEN IF TRUE

Part of me also raises an eyebrow at S4 as perhaps an example of the effect of the Conan Doyle estate on any modern production in the US. While it’s true that all of Sherlock is part of public domain in the UK and has been for quite a long time, Gatiss and Moffat still talk about it being partially under copyright. Specifically, the last 10 stories. I’m supposing that this means that because Sherlock airs internationally, or due to whatever contract the BBC has with the Doyle estate, they are still limited by the copyright as to what they can “publish”.

The Doyle estate is known for being a pain in the ass when it comes to abiding by copyright law as everyone else knows and practices it. They’ve tried to argue, for example (in 2013 and, much more recently, with the advent of Enola Holmes), that because Holmes and Watson were not fully developed as their final selves until the conclusion of all 10 stories still under copyright, then perhaps the characters themselves should still be protected, basically, in full.

It’s true that certain elements of the remaining stories are still under copyright here in the US (Watson had more than one wife--uh huh, we have that to look forward to, Johnlockers; the Garridebs moment is still under copyright--yeah, I’m getting to that too; and Sherlock didn’t care much for dogs til later so that’s not allowed either, fuck off Redbeard), but the estate’s problem in 2013 seemed to be based around a fear that *gasp* some day--if not right now!--anyone could write a Sherlock Holmes story in any way they pleased, changing the characters however they wished to and giving those characters “multiple personalities.”

See the following excerpt from the Estate’s case:

“...at any given point in their fictional lives, the two men's characters depend on the Ten Stories. It is impossible to split the characters into public domain versions and complete versions.”

(Click for full transcript.)

Obviously, by this point, that’s been done in multiple iterations. So I dunno. Their argument was *more* than muddy to begin with--they just grasp at straws to stay in control, it seems.

But okay. Backing up: wasn’t there sort-of a Garridebs moment in S4?!?? you cry. Yep. But imagine this: the Conan Doyle estate taking Mofftiss to court to argue that they depicted the Garridebs moment--a moment still under copyright--in The Final Problem.

Did they, though? Did they really?

The fandom cried out about the ridiculousness--the utter disappointment--of that moment when it was shown. It was not what we would have expected/wanted. We didn’t see John injured, Sherlock reacting with tender outrage to the good doctor’s attacker.

Instead we saw some ludicrous BS that was as bad as the clown with the sword-gun-umbrella. More of that.

I think Martin probably found that it was easy to produce real tears when he thought about how fucking terrible the S4 scripts were.

Ahem. Yet, this all seems very Mofftiss-flavored in terms of humor.

I can all-too-easily imagine them saying, “HA. We’re going to show some of these supposedly copyrighted things--and if they take us to court, they’ll be laughed out of the room.” Could that explain some of the overall S4 fuckery?

Sherlock wasn’t supposed to like dogs til later stories, as previously mentioned-- is that why Redbeard pulled a “Cinderella’s carriage” and transformed into a pumpkin (Victor Trevor)? Hmm. Sigh.

It...doesn’t actually appear that the estate has any qualms about taking laughable stuff to court, I mean...*shrug.* They have the money to do it, and money is the name of the game, because you’ve got to pay for rights (cha-ching sounds).

Yep, it does seem that the estate is open to the copyrighted materials being made reality, but who knows for what price or with what caveats. The BBC isn’t, so far as I’ve ever heard, known for throwing money around. Early Doctor Who would be so much less entertaining if they’d had any sort of budget. (And in fact, more of the older episodes would exist, but apparently the BBC--in part to cut costs--reused some of their tapes.)

My bottom-line bitter is this: Mofftiss do like to amuse themselves. To please themselves and no one else, as they’ve shown time and again. Sure, they could do whatever they wanted with S4...and they did...but they were also cruel about it, and that’s what I’ll never forgive them--OR the BBC--for.

A lot of fans gave up after series 4. I was very nearly one of them. I was angry, like just about every other Johnlocker and/or TJLCer, but I was really truly heartbroken. I couldn’t look at fanfiction. My days were full of bitterness and I keenly felt the lack of the fandom outlet that had become so essential to my mental well-being. I didn't know how to overcome the disparity between TJLC and what the show actually was. I didn't know how to separate the things I loved so much from the shitty writers and the way the BBC handled things with their whole response letter (that atrocious, childish blanket response they sent to everyone who complained about S4, not just the Johnlockers/TJLCers. Related to your complaint or not, if you filed one post-S4, this was the response you got). I still boycott BBC shows/merchandise, just by the way.

I tried to link to the blanket response letter but the link didn’t want to work (it’s an old reddit post; I had difficulty finding a copy of the letter elsewhere though at one point it wasn’t so hard...Google is weird these days y’all...tell me it’s not just me) so here’s a screenshot:

Transcript:

“Thank you for contacting us about “Sherlock”.

The BBC and Hartswood Films have received feedback from some viewers who were disappointed there was not a romantic resolution to the relationship between Sherlcok and John in the finale of the latest season of “Sherlock”.

We are aware that the majority of this feedback uses the same text posted on websites and circulated on social media.

Through four series and thirteen episodes, Sherlock and John have never shown any romantic or sexual interest in each other. Furthermore, whenever the creators of “Sherlock” have been asked by fans if the relationship might develop in that direction, they have always made it clear that it would not.

Sherlock’s writers, cast and producers have long been firm and vocal supporters of LGBT rights.

The BBC does not accept the allegations leveled at “Sherlock” or its writers, and we wholeheartedly support the creative freedom of the writers to develop the story as they see fit.

We will of course register your disappointment.

Thank you for contacting us.

Kind Regards,

BBC Complaints Team

So how about that? *Did* they “register our disappointment”? We can actually check that. The BBC’s website has a monthly summary of complaints received. So what did they receive in January 2017, the month S4 aired?

Huh, what do you know. Sounds like that blanket response was exactly the “fuck you” it came across as.

But the show--the FANDOM--had filled a need in my life, and so I had to own that and make it mine, or just...let something in me die: something that felt like an actual vital organ. I had to decide that these characters mean something to me beyond what anyone else tells me they should. I had to accept my own perceptions as truth, as I do with everything else in my life. I had to overcome the idea of canon as law (BBC Sherlock isn't canon anyway; ACD is canon. BBC Sherlock is, in the end, badly written fanfiction--or--worse?--decent pre-slash fanfiction distorted by consistent lies and the hazing of the LGBT audience, topped with the dumpster fire of S4′s incoherent nonsense).

I had to take the good and throw away the bad, just like anyone else who chose to stay. The good bits of the show...dialogue, yes. Plot points, yes. These awful writers did write some good stuff sometimes.

They just broke all the unspoken rules of what not to do to your audience. And then did and said everything they could not to apologize, and to justify their own failings. Which, in the years since I began shipping queer ships beyond any others, I have unfortunately experienced more than once.

So, my vulnerability has been yeeted into the vacuum of broke-my-trustdom: no one can tell me what things should mean to me. I will decide.

I decide that all of the FUCKING AMAZING writing in the Sherlock fandom is a staple in my life that makes it worth living. And that that's okay. And takes precedence over anything the writers or anyone else associated with the show could ever say or do.

Johnlock can not be taken away. It doesn't belong to them. It never did, even if they brought us to it. It belongs to us. To the group of amazingly creative, brainy, empathetic, resourceful, vibrant, resilient people who make up this fandom.

So thank YOU, all of YOU, for giving me Sherlock, Johnlock, and TJLC.

I am SO SAD for those who never found a way to make peace with this fandom again. Let me just say that I understand that inability entirely.

I am fortunate that I found the ability in myself to cling to the joy (something it has taken my whole life to be able to do). I hope others will who haven’t yet but wish they could.

Let Mofftiss and whoever sides with them stay angry and bitter and vicious, always looking over their shoulders for anyone who dares to whisper about subtext.

I’m proud to be part of what they’re whispering so angrily about.

Thanks for sticking it out if you made it this far. I know this was very self-indulgent and rambly.

Articles of interest:

A Study in Queerbaiting (Or How Sherlock Got it All Wrong) by Marty Greyson

“We never played it like that.” - Martin on Johnlock

Henry Cavill on the Enola Holmes lawsuit

More on that--and by the way Sherlock isn’t allowed to like dogs

The way Sherlock creators told fans Sherlock & John aren’t gay is so rude

Especially for those new to the fandom who may not know the distinction between TJLC and Johnlockers and want to know more about TJLC's evolution/what it is/meta through the years

Moffat's view on asexuality, offensive to me in particular *as* an asexual person (same article where he claims he isn't misogynistic): "If he was asexual, there would be no tension in that, no fun in that – it's someone who abstains who's interesting."

Yet he says Sherlock isn't gay or straight and that he's trying to keep his brain pure which is a "very Victorian attitude"

(Nice historical research there, Moff--actually the Victorians were sex-positive).

Sherlock fans were robbed of the gay ending they deserved

Benedict Cumberbatch has lashed out at his Sherlock co-star Martin Freeman over his negative attitude towards fans

BBC complaints January 2017

Martin Freeman: 'Sherlock is gayest story ever'

From 2016: UNPOPULAR OPINION: "Sherlock" Isn't Sexist or Queerbaiting; It's Actually Trying to Stage a Revolution

Queer-baiting on the BBC's Sherlock: Addressing the Invalidation of Queer Identities through Online Fan Fiction Communities by Cassidy Sheehan

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michelles-garden-of-evil · 3 years

Text

Episode 46 Review: 2 Theories About Jean Paul, Erica, and the Locket

{ YouTube: 1 | 2 | 3 }

{ Full Synopses/Recaps: Debby Graham | Bryan Gruszka }

In this great house on Maljardin, evil lives, even amongst the dead, and the poison this evil spreads threatens Erica Desmond, who lies frozen in this cryocapsule until the day a scientific miracle returns her to the living and back into the arms of her husband Jean Paul Desmond, who has defied powers real and imagined to assure his wife’s return from beyond the veiled curtain of death. Strange happenings are forcing a decision that could doom Erica Desmond...forever.

Hello and welcome back to my Garden of Evil, where today we will examine Jean Paul’s reaction to Dr. Alison Carr’s new discovery about her sister’s bloodied locket and two possible explanations of what it may say about Erica’s death and Jean Paul’s state of mind. I could do an entire recap of this episode if I wanted to, but I'd rather narrow the focus of this entry to the theories that have been floating around my head for a while (one since before I started this blog, in fact).

A brief summary of the important stuff that happens in this episode: Alison learns that the blood on the locket is human blood, type AB-, which leads her to conclude that it must be Erica’s, because both she and Erica have that rare blood type[1]. She also tests the poison found in the glass of wine that Holly drank from two episodes ago and finds that it’s not the missing cyanide, but an unknown poison of vegetable origin. Elizabeth defends herself to Matt, telling him that she has no motive to kill Holly, not even her inheritance--and, surprisingly, he believes her. And then Raxl and Quito steal the rabbit from Jean Paul’s room and stumble upon that wonderfully sinister skull, which will co-star with Jacques in Episode 47.

Jean Paul receives irrefutable proof that the locket found around the rabbit’s neck belonged to Erica.

Outside of those plot points, this episode focuses primarily on Jean Paul’s confusion over how a bloodied locket even ended up in the cryonics capsule with his beloved Erica to begin with. When Alison shows Jean Paul the blood sample under the microscope, he's skeptical at first and tries to convince her that she either bled on it or someone else somehow put her blood there to confuse him. I would say it boggles my mind how someone with an IQ of 187 like Jean Paul can conceive such a ridiculous theory, but, honestly, it doesn’t. The popularity of conspiracy theories and other misinformation in our time has convinced me that human beings of any intelligence level can trick themselves into believing anything, no matter how patently absurd, if they want to believe it enough.

Subtle Dark Shadows reference?

I can’t tell how much of the next part where Jean Paul continues speculating about the locket is actually in the script and how much is just a particularly bad line flub. Listening to his dialogue, it sounds like a combination of both, but it’s hard to tell given that the character is supposed to be very confused already. Here’s an exact transcription of what he says:

Jean Paul: "Well, maybe I-I-I put the necklace on her neck without realizing it. I perhaps didn't put it on her when I put it in the capsule. It could have happened that way very easily. You see, I had thought I had. You didn't see me do it, did you, Raxl?" Raxl: "No." Jean Paul: "Quito, did you?" Quito: *shakes head* Jean Paul: "Well, there you are. You see? She could have cut her finger a while before she died, and so the blood got on the locket, and maybe I put the locket in the, uh, dresser drawer, and it was left there, and in my grief I didn't know what I was doing and I gave her another piece of jewelry which I put around her neck. Don't you think that probably is what has happened?"

Vangie isn’t convinced of any of these theories, and neither is Raxl. The latter believes that the locket appeared because of evil, “slimy like a snake, ugly like a black rabbit.” (WTF? The rabbit is adorable!) Jean Paul accuses Vangie of suspecting him, but she insists she doesn’t. Of course, he doesn’t believe her and he takes out his anger by breaking Alison’s microscope in half, throwing it to the ground, and accusing Erica of mocking him.

In the next scene, he ruminates in his room over the likelihood that he killed Erica, intentionally or otherwise:

Could I have killed my Erica? Could I have slain my love? That's impossible! Oh, you would like it, Jacques Eloi des Mondes, my bloody murdering ancestor. If it was so, how you would rejoice! But then, if I didn't put the locket in the cryocapsule with Erica as I thought, what other things that I believe as facts--things which are part of my life and experience--may be no more than creeping, malicious, lying fancies? Perhaps I didn't love my Erica at all. Perhaps I hated her!

Jean Paul pondering whether he truly loved Erica.

Getting dramatic!

Later, while lying on his bed in shirtsleeves, he realizes that he genuinely loved her, but that his memory is still faulty:

Jean Paul: "I loved her. I remember how I loved her. There was no world but the world outside, and then there was another world and that was us. Oh, how I loved her, so good, so beautiful, but what happened at the end? I can't…was the necklace with Erica when she was sealed in the capsule? I can't remember."

But later on when he visits the Great Hall (inadvertently giving Raxl and Quito the opportunity to retrieve the Rabbit of Evil), Jacques torments him by implying that Jean Paul, like him, is a murderer. “Think there’s a chance you may have murdered your sweet Erica?” he asks. “That blood was very interesting, wasn’t it?”

Jacques hinting again that they’re the same man, or just that the apple doesn’t fall far from the proverbial tree? Or perhaps this is like that one line from Game of Thrones: “You can’t kill me, I’m a part of you now.”

Then we get this exchange which acts as a segue into the next scene:

Jacques: "So maybe you killed your little love before you put her in that tin coffin, hm? Maybe there is no pristine, pure body to revive. That's what's been on your mind all day, isn't it?" Jean Paul: "Even if it has been, I certainly wouldn't tell you." Jacques: "You can have no secrets from me, anyhow. You know, if you ever are thinking of murdering again…" Jean Paul: "I did not kill her!" Jacques: "All right!" *laughs* "But whether you did or not, you might want to kill someone else one of these days." Jean Paul: "Good night." Jacques: "All right, run away, but you might find an example of my skill nearer than you know and sooner than you think."

After he storms out of the Great Hall, Raxl and Quito return, the latter carrying the rabbit. Before they can sacrifice the rabbit in an effort to rid the house of its evil, it jumps from Quito’s arms. While trying to catch it, he bumps his head into a painting of mysterious ancestor Étienne des Mondes and knocks it off the wall, revealing a hidden cupboard with a skull swinging from a rope through its jaws.

We’ll discuss this skull in the review for next episode, where it becomes the focus. For the rest of this review, however, let us turn our attention to two possible interpretations of the Jean Paul and Jacques scenes in this episode. My theories are as follows:

Theory #1: Jean Paul killed Erica and is living in denial

Jean Paul’s reaction to learning that his deceased wife’s blood is on the locket and especially Jacques’ comments about it seem to imply that Dan Forrest’s theory about murder may not be a red herring after all as Ian Martin would have had us believe. Remember that, although Jacques is evil and Martin’s episodes portrayed him as the Father of Lies, he and Jean Paul may or may not be the same man. That could mean anything from Jean Paul having a split personality to Jacques having transported himself forward in time to live as Jean Paul Desmond before the events of Episode 1, but I’ll save those ideas for another essay. The point is that Jacques seems to know Jean Paul as well as he knows himself, and as such knows things about him that the other characters don’t.

It’s possible even that Jacques has observed and interacted with Jean Paul since long before Jean Paul freed him by removing the silver pin from the conjure doll’s temple. Think back to Jacques’ introductory scene in the pilot, where he responds to Jean Paul’s proclamation of “on this island, from this moment forward, I am God” with “bravo.” He could speak through the portrait and even give characters visions before Jean Paul freed him! Also think of all the things he’s referenced that a man from the 17th century wouldn’t be aware of: merry-go-rounds, bus time tables, the figurative expression “jack up by the bootstraps,” and whatnot. Assuming Jacques is a spirit like he claims, he’s been observing and learning things on Maljardin for a very long time! Sure, he looked confused about that fountain pen in Episode 4, but perhaps that was only because he hadn’t had a chance to practice using one before Jean Paul set him free. If Jean Paul killed Erica, Jacques would know about it and may even have encouraged it by communicating with him through the portrait. There’s no indication that the scene in the pilot is the first time he made contact with his descendant. It could be the second time, the fifth, the tenth, the thousandth, or more.

Also note that the exact cause of Erica’s death is never made clear. Jean Paul claims in Episode 5 that she died of eclampsia, but the Lost Episode summary for Episode 47 from the CBC program log indicates that Dr. Menkin’s missing notes would have eventually revealed her to have “died attempting to gain eternal youth.” The latter could have meant anything from plastic surgery complications to swallowing gold à la Diane de Poitiers. It’s not even clear if the attempt at eternal youth is truly the cause of her death, just what she was doing when she died. This leaves the possibility of homicide open.

But did Jean Paul (or Dr. Menkin) intentionally kill her, or could it have been an unpremeditated, spur-of-the-moment decision? I believe the latter is more likely. Jean Paul seems genuinely confused by her death, and even by whether he loved or hated her. It’s possible he already wasn’t in his right mind before her death and may even have blacked out during it (although probably not because of possession, as he had not yet freed Jacques). Perhaps the artificial intelligence hinted at by the reference to W. Grey Walter’s “Imitation of Life” factored into this: for example, the implant inside Erica’s brain may have malfunctioned, causing her to become violent and attack Jean Paul and/or Dr. Menkin.

SPOILER WARNING FOR THE PIT AND THE PENDULUM (1961)

Another thing to consider: Strange Paradise shares many plot points in common with the Roger Corman/Vincent Price movie The Pit and the Pendulum. In the film, we have (1) a husband whose wife recently died under mysterious circumstances, (2) whom he comes to suspect he accidentally murdered. (3) His doctor is living at the castle with him, when (4) a sibling of his deceased wife comes to investigate her death. Among the ghostly happenings in the house, (5) a portrait of the wife is slashed. Finally, (6) the husband goes mad and (7) is possessed by an evil lookalike ancestor, in this case his father. While I don’t think that we can accurately predict planned revelations in Strange Paradise using the events of a film written by someone unaffiliated with the show’s production, it is interesting to note that Vincent Price’s character accidentally buried his wife alive. This connects to the events of Episode 44, where Erica’s spirit possesses Holly and tells them to “let [her] out,” although in Erica’s case it’s more likely that she’s just been resurrected from death instead of being buried alive.

END SPOILERS

Theory #2: Jean Paul is imagining things

Another possibility is that he didn't kill Erica and is using the new (apparent) evidence to construct a false memory of killing her. Although most of us like to think of memory as infallible, numerous studies have proven that it's anything but. This can occur on a collective level, such as the famous Mandela effect where, prior to Nelson Mandela's actual death in 2013, many people misremembered him as having died in the 1980s. More often, however, individual people remember false versions of events from their own lives.

In the late 20th century, numerous psychological studies identified the way that even changing small details of a story--changing a stop sign to a yield sign, for example, or adding the detail of broken glass to the story of an accident--could alter a subject's memory of it, creating a "misinformation effect." During one such study, researchers used a fake advertisement showing Bugs Bunny in front of the Sleeping Beauty Castle at Disneyland to trick their subjects into believing that they could meet Bugs at the park (despite Bugs being a Warner Brothers character and Warner Brothers being affiliated instead with Six Flags). For 16 percent of the subjects, it worked, and they described further false memories of meeting Bugs at Disney, adding details like that they touched the ear of his costume[2].

Speaking of false memories of amusement parks, I swore for years that I remembered visiting a dinosaur theme park in the northern Ohio woods back in 1998 or 1999, when I was five or six. I never questioned whether the memory was real until one day when my family drove past a drive-through dinosaur exhibit and my dad said to my mom, "They didn't have anything like that when Michelle was a kid." Skeptical of his claim, I did some Googling and discovered that there was a dinosaur-themed park in the woods near Sandusky called the Prehistoric Forest that looked much like what I thought I remembered[3]. When I sent my parents the link to the article about the Prehistoric Forest, both of them denied ever taking me there or even having heard of the place. Nevertheless, I swear I've been there or somewhere very similar. I think the most likely explanation is that I dreamt about it, but that the memory of the dream was so vivid that I mistook it as one from my waking life.

Much as a researcher can convince their subjects to believe that Bugs Bunny appeared at Disney or I convinced myself that I had visited a place like the Prehistoric Forest, Jean Paul is capable of brainwashing himself into thinking that he murdered Erica. This isn't even the only time he speculates without clear evidence that he’s guilty of murder. We'll see something similar in Episode 137 regarding the murder of a different character, whom Jean Paul will successfully convince himself he killed despite hazy evidence at best.

Note that these two theories are not one hundred percent mutually exclusive. It’s entirely possible that Jean Paul killed Erica, but misremembered specific details about her death or how he felt about her. Also note that this show contains quite a few retcons, one of which we saw last episode. Just as the trajectory of this show has changed significantly from Ian Martin’s original plot, the truth about Erica Desmond’s fate is currently in flux within the show’s universe.

The contents of the secret compartment that Raxl and Quito discovered.

Coming up next: A delightfully chilling episode where Jacques uses the skull that Raxl and Quito found to further terrorize his guests.

{<-- Previous: Episode 45 || Next: Episode 47 -->}

Notes

[1] While rabbits can have type AB blood (or type ZY blood, using the system from this 1954 study) and they cannot tolerate injections of Rh-positive blood, they have different antibodies in their blood from those of humans.

[2] Elizabeth F. Loftus, "Memories of Things Unseen," in Current Directions in Psychological Science 13:4 (2004), pp. 145-146. There are other examples from other studies, including one involving false memories of witnessing a demonic possession, but the Bugs one is my personal favorite. Also, this period of Strange Paradise puts me in a rabbity mood.

[3] Coincidentally, the Prehistoric Forest's entrance appeared in the 1995 film Tommy Boy, which also featured Colin Fox and Pat Moffat (Irene Hatter) in supporting roles. There was also an animatronic dinosaur attraction at Sea World Ohio called Carnivore Park that operated in the late 1990s. Despite having visited that Sea World many times as a kid, I couldn’t have gone to that exhibit because we couldn’t afford to go there in 1998 or 1999.

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sineala · 4 years

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The Old Guard

This post comes to you courtesy of the generous support of one of my Patreon patrons, who wanted to know what I thought of The Old Guard. This post contains some spoilers for both the movie and the comics.

So, a few days after it came out, my wife and I watched The Old Guard on Netflix. Tumblr had said a bunch of good things about it, and both of us basically cut our fannish teeth on Highlander fandom so we already had an automatic buy-in for a story about immortals. I knew it was based on a comic by Greg Rucka, but I had not, at the time, read the comic, although I am now reading it in order to write this post.

The premise of the film is as follows: a four-person team of immortals (Andy, Joe, Nicky, and Booker) makes a living hiring themselves out as mercenaries, fighting for causes that they believe are right. They are successful at this basically because their grasp of tactics appears to be (1) die, followed by (2) come back to life and (3) murder your attackers who are no longer paying attention to you because they think you're dead. Honestly, at this point, you wouldn't really need to be very good at the actual fighting part, I would think, but the film establishes that all of them are -- especially Charlize Theron as Andy -- because presumably it wants you to watch action sequences of everyone being badass, which they are. So, yeah. They take all the good-guy mercenary jobs that no one else can do because it would kill them, which is not a problem for them!

Anyway! The group's routine is interrupted by two major events: the discovery of Nile Freeman, a new immortal, who is a Marine serving in Afghanistan who survives getting murdered; and also the fact that one of their employers, Copley (played by Chiwetel Eijofor, whom you may remember as Mordo in Doctor Strange) has sold them out to the movie's Actual Villain, a Big Pharma CEO named Merrick (played by the guy who played Dudley in the Harry Potter series), who has (as far as I can tell) been given instructions to play this role just like he's Martin Shkreli, who is interested in finding the secret of their immortality, and whom you can tell is evil because he has his name in giant letters on the side of his building.

ME: Look, it's the villain! I've found the villain! MY WIFE: Other than Tony Stark, who actually puts their names on buildings like that except villains? It's just villains, right? ME: Uh. The president? The president definitely does that. (We make horrified faces at each other.)

Because we are Extremely Pedantic, we also spent a lot of time picking at how the characters' names and language abilities match up to their stated background. They all know a lot of languages, as you might expect, and the movie was determined to get through them without subtitles, which is an interesting choice but also kind of left some linguistic plot holes.

For example, Joe and Nicky claim to have met each other in the Crusades, with Nicky as (presumably) a Crusader and Joe as (presumably) a Muslim occupant of the area, although the movie doesn't specify this; Wikipedia gives Joe's name as Yusuf Al-Kaysani, which would at least fit that. Nicky is clearly Italian (as is Luca Marinelli, the actor who portrays him) and when he speaks Italian to the rest of the group we see that he definitely speaks modern Italian as spoken in Rome... which is absolutely, definitely not the language he grew up speaking, given that, among other things, Wiki lists the character's full name as Nicolò di Genova. I don't know if the writer of the screenplay (who I see now is also Greg Rucka) didn't know how much Italian dialects had changed in the last thousand years, if he thought that was good enough to be a nod to the character, or if there's some kind of backstory that didn't make it in where every so often Nicky decides to learn a modern dialect and keep his hand in, and also decides that that's the language he wants to use among his friends who would presumably understand several different dialects.

Also, the reveal that Andy's real name was in fact "Andromache of Scythia" was indeed badass but was slightly undercut by my wife yelling BUT THE SCYTHIANS DIDN'T SPEAK GREEK at the television.

Additionally, I feel like the movie could perhaps have been aware of the ways it chose to label on-screen locations, in which the countries were spelled out in large fonts with the cities above them. Places like LONDON, ENGLAND got their entire names spelled out, as did small French villages whose names I can no longer remember, but I guess AFGHANISTAN and MOROCCO and SOUTH SUDAN have zero cities, huh? However, the end of the movie did take place in PARIS which I guess unlike London is its own country now.

So the actual plot features the group of immortals trying to explain this whole immortality thing to Nile while being on the run from the people who are trying to turn them into Big Pharma, who wants to capture them and exploit the secret of their immortality. This is where it falls down a little for me, because the worldbuilding... gets a little shaky. They dream about each other when they're apart. Okay. Why? Sometimes they just stop being immortal and lose the capacity to heal and are dead in their next battle. Why? Why do they even exist? I just... wanted more answers than the movie gave me, and the pacing where I kept expecting there to be explanations wasn't there. There were a couple of scenes where Nile sat there in silence contemplating the fact that she would outlive her loved ones and my brain kept trying to insert Queen's "Who Wants to Live Forever?" Granted, the Highlander canon explanation for immortality is deeply, deeply weird, but at least it tried. No, I can't believe I'm defending Highlander II either.

The characters, too, could have been more fleshed out. The bulk of the character development is given to Andy and Nile, and I'm not complaining about that -- they were great -- but Joe and Nicky and Booker only got maybe a few lines each. They would have felt so much more real if they'd just had a little bit more to them. Also I didn't understand Copley's arc at all, but saying more about that would be spoilery. I do like that they have definitely set themselves up for a sequel.

But even with what we got, there's a lot to love about the characters. If you're here for canonically queer characters, you will enjoy Nicky and Joe, who have been in a relationship for probably about a thousand years. They are minor characters as far as the overall plot goes, but what they do have is lovely, and there is a romantic declaration between them at one point that is absolutely beautiful and possibly the most fervent love declaration I can remember seeing in a movie since maybe... ever. If you also like your queerness more subtextual, though Andy is never portrayed as explicitly queer, her past friendship with a fellow immortal Quynh was shown as very intense, as is the role she takes here mentoring Nile into the world of immortality. Also she has a double-bladed axe (yes, we kept yelling BRING ME MY MAN-KILLING AXE at the television) and as we all know, the double-bladed labrys has in modern times become a symbol for lesbians. So there's that.

In addition to the characters of color who play important roles here -- Nile was my personal favorite, but there's also Joe and Copley and (in flashback) Quynh -- there's a lot of diversity behind the cameras as well, or so the internet informs me. The director (Gina Prince-Bythewood) is the first Black woman to direct a superhero movie, and the same is true of her editor (Terilyn Shropshire). And, furthermore, apparently 85% of the post-production crew were women. They didn't have to do that, and yet they did. It was nice.

I don't watch a whole lot of action movies these days because I usually find R-rated violence too... violent, but I found myself really liking almost all of the action sequences here. None of them felt gratuitous, and a lot of them really focused on the physicality of the immortals fighting in a way I liked, because I feel like people are probably going to fight differently if they know they can survive every single hit, and I think the movie portrayed that in a way that a lot of superhero comics and movies don't. My favorite fight scene is definitely the one between Nile and Andy at the beginning, when Andy has trapped her on a plane and it's extremely close-quarters fighting and also extremely brutal. They don't stop basically until Nile breaks enough bones that she can't get up anymore, because until then she's going to keep trying, which is both kind of horrifying and a great character note. And they didn't film it like it was a Sexy Catfight! It was so good.

Also, the soundtrack is really good, and I've found myself streaming it on Spotify all week. I didn't know any of the songs in the movie, but there's a lot of hip-hop and -- okay, I don't even know if this is a genre? -- specifically a lot of hip-hop with an electronic/industrial sort of beat, which I thought was really great and livened up the fight scenes even more; "Going Down Fighting" did a really good job getting me in the mood for the final confrontation with the villain, and... yeah, it's all good. Someone made a playlist on Spotify that will come up if you search for it.

So, yeah. It's on Netflix. It's not without flaws (mostly, explaining how the hell immortality works, and a couple of pacing issues), but it's a really satisfying superhero movie.

That's the movie. Onto the comic, which I am just now starting to read as I write these words. Whee!

So The Old Guard: Opening Fire is a 2017 five-issue Image Comics series written by Greg Rucka, with art by Leandro Fernández, and there's also a 2019 sequel, The Old Guard: Force Multiplied, by the same creative team, also with five issues. I have not actually read any of Rucka's work before now because he is mostly famous for his DC work, but I have heard good things about it, especially his Wonder Woman run.

Anyway. The art is very stylized, with a minimal color palette, and it's very pretty but I honestly found it hard to parse sometimes. Many of the characters have very weird noses. Yes, noses. It's basically mostly in Andy's and Nile's POVs, like the movie, and as far I can tell Andy is explicitly queer, because unless I am entirely misreading this panel in issue #1, here she is in bed with a woman in one panel. Whee. Also there are some nice epigraphs at the beginning of each issue.

Okay, so, the plot here is basically the plot of the movie. There is still no explanation of why immortality exists. But even so, there are some fun character moments that didn't make it into the movie -- for example, Andy saying smartphones are too hard to use and she liked the old ones better, only for the rest of her team to say that she couldn't use those either. I think you get a better sense of Andy's world-weariness in the comic. There are also other, now-dead Immortals mentioned, like Noriko, who "went overboard off the Horn." Quynh is not one of them; Quynh basically is Noriko, which is because they cast a Vietnamese actress who asked if her character could be Vietnamese too, which seems perfectly reasonable to me. But anyway, in the comics, she's Noriko. Weirdly, Andy's full name, as she tells Nile when they meet, is Andronika ("man-victory") rather than Andromache ("man-battle," in case you were wondering); I think the movie made a better choice because Ἀνδρονίκα has exactly two attestations in the Lexicon of Greek Personal Names, whereas Ἀνδρομάχη has all that shiny name recognition of being shared by the wife of Hector and also the queen of the Amazons and will ping viewers as a Greek name, and therefore ancient, even if it can't be the name she was born with. (There are five for "Andronike" and four more for "Andromacha" so they actually have about the same number of total attestations, as far as I can tell, when you consider the alpha/eta alternation in how various Greek dialects mark feminine nouns.)

(Yes, you totally wanted a review by someone who looks up character names in the LGPN. Don't lie.)

Plotwise, Andy gets all of the initial exposition in for Nile before they get to the safehouse, which Copley has already gotten to before they get back, so Booker is bleeding on the floor and Nile doesn't get to meet Joe or Nicky at this time, and I am also glad they changed that for the movie. But, don't worry, Joe and Nicky's romantic declaration is still in here. We also get Andy pondering the last time she was in love, with a human who grew old.

Oh, and we get Andy's age: 6,732. And by issue #5 her name has changed to Andromache, because what even is continuity? I guess Andromache is her name now.

So Nile finally meets Joe and Nicky when she rescues them and also, uh, that plot point where Andy might die? Totally not a thing here. Nope. And no "surprise! even more immortals!" end-credits moments either.

Basically, I feel like every change they made to the script for the movie really strengthened the story, and even though I thought the movie could have used more character moments, it's way better than how the characters are separated for even longer in the comic. Nile rescuing the team means a lot more when she has met them before, you know?

So Force Multiplied starts us off with Andy, Joe, Nicky, and Nile, because Booker is still on time-out. They are in the middle of a car chase, and Booker's off getting himself kidnapped by someone who wants to know where the others are. The villain of the piece turns out to be Noriko, who is still alive, whom Booker had never had a chance to meet and apparently had never heard of. So, basically, a lot like the Quynh plot that the movie is teasing.

Overall it's a little less action-filled than the first one, which had multiple splash pages of nothing but violence; this one is a little more character-driven and explores the relationship, such as it is, between Andy and Noriko, as well as Nile coming to terms with her immortality, as well as with what everyone else has done over the years. It does have a bunch of violence at the end, though.

I don't want to spoil the ending, but I definitely wasn't expecting where that was heading. There's apparently going to be a third volume, and I am looking forward to it, whenever it exists.

(Although, now that I think about it, the ending is a lot like a fan-favorite moment of Highlander: The Series, but I think if I said which episode you would know exactly what the ending was.)

So, yeah! The Old Guard! I can't say as I feel particularly fannish about it -- there's nothing that makes me yearn to fill in the gaps in canon -- but the movie was really good and you should see it. And you should read the comics if you're into that.

#posts i actually wrote

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knightdale-secret · 3 years

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Today I learned a haunting truth about a secret hidden right in my very neighborhood. An ugly truth that has been hidden, covered up and mostly forgotten, until now.

In Knightdale, North Carolina the prominent plantation owner, Charles Lewis Hinton, purchased and built a plantation home for his son David Hinton and his new wife Mary Boddie Carr as a wedding present on a stretch of land that would come to be known as the Midway Plantation because it was halfway between two other Hinton family properties. The beautiful, two-story Greek Revival plantation home was built in 1848 as a forced-labor farm. A slave plantation.

I’m not certain how many people were enslaved there over the years, but I do know that at least 130 of those slaves were buried on a site that would later be knowingly built on top of to create Widewaters subdivision. MY neighborhood.

Right behind the community pool and club house there is a strange white gravel path that leads up a slight hill to a black wrought iron fence gate that is always latched. There is a rickety wooden fencing surrounding a wooded area on a hill. This is in the middle of the neighborhood. There was never any explanation for it - for why, in a development, this overgrown patch of trees is fenced in and gated off, untouched, where normally there would be another few houses perhaps. I pass this area almost daily in my car or on leisurely walks. I had noticed the fence but thought maybe it was part of someone’s property. I didn’t think too much of it.

But that changed today. Today I was bored and looking up about local plantation owners in the area because history has always interested me. I learned a little about the Shoppes of Midway being built where the plantation house once stood and that the original house and its outbuildings were moved 2 miles up the road so a Target could be built and the ever expanding road wouldn’t keep encroaching on their lawn. This made way for growth in Knightdale. And grow it has. What was once a small town on the outskirts of Raleigh has become busier and more built up as available housing in the city has decreased and people leave it in search of quieter suburbs to live and raise their families. So as I was researching for no reason in particular other than personal interest, I stumbled upon an article about Midway Plantation and it stated that there was a slave cemetery that was surveyed and a neighborhood was built on top of it. It said it was across the street to the east from where the Midway Plantation house originally stood and that all that was left of the cemetery was maybe 50 graves on a hill in some trees surrounded by a black wrought iron fence. The article states that after the building of the subdivision was started, it was clear that houses were more important than the graves of the many slaves that worked the plantations. And yes, the builders did know about the cemetery. It was surveyed and it was signed off on to be built over. I think this is when the downplaying, lying and covering up started. A letter was reportedly written according to the below article when the preparations for the subdivision were being made that said that such a large slave cemetery couldn’t have existed in this area based on the shaky reference that the present owners didn’t have enough slaves to have this type of burial ground and no church could be identified on the grounds (cause cemeteries only are constructed on church grounds?) this mysterious letter writer conveniently failed to recognize that the land was originally Hinton land and they had slaves numbering in the hundreds here and could most certainly have amassed a deceased slave population of that size over the years it was in operation.

There is a saying about guilt : “A given excuse that was not asked for implies guilt.” If this letter writer submitted this without prompting from any public outcry than he was already defending a guilty mind. He was trying to persuade people away from the truth and to avoid any public outrage over the very wrong they knew they were committing by building here.

That article link is here: http://www.knightdalehistoric.com/pdf/plantations3.pdf

This was the only article or snippet of information I could find about this cemetery that very clearly under my neighborhood and whose remaining grave sites lie just mere feet away from our community swimming pool. This disturbed me greatly because to date, this site is unmarked and unrecognized. So i first decided to submit a request for a historical marker to be made for the site. I was met with an emailed response by a very helpful administrator for the NC Marker Historical Society who said that they no longer do markers for cemeteries but she would contact the National Register for Historic Places and see if the cemetery could be added to the Midway plantation that is already registered as a historical place. She has been talking with archaeologists who are working on this and she’ll be in touch. I also emailed someone in archives to see how I could find the site survey that was done but haven’t received a response yet.

Next I decided to post this information on Facebook to the local community groups and see how they felt about it, and to inform them as well as pose that a marker be made and that I would try to get that facilitated. An outpouring of support and offerings to donate to help fund its creation were given. I knew I was onto something that was important not just to me as a person living in a neighborhood with a secret of this magnitude, but to a community of people who would also want this recognized.

Now, I myself am not African American. I am pretty much as white as they come, I have the genealogy report to prove it. I struggled with the idea that I would be lambasted as trying to be some sort of “white savior” or something by trying to make this happen. I felt guilty that I was the one that found this information and had to be the one to put it out there. I felt like this belongs to the descendants of slaves. this is something that would affect their community,feelings and hearts maybe more than the white community’s in its ramifications and would of course be more important to them on a more personal level. Who am I to come in and make a big stink about something that isn’t even my history someone might say,but it is America’s history. It is the history of the land I now inhabit. And it is an issue that I hold dear to my heart because these men and women and children that lived, worked and died here were not just property or possessions, they were people and their graves should be respected just like anyone else’s. More so I think. Their graves can serve as a reminder of the great bloody sins that occurred in the building of this country. In the building of the south. The only monuments I’d like to see in the south would be to commemorate the slaves, not the enslavers and the people that tried to tear the country apart. The hero slaves that helped build this nation against their will and with great laboring and suffering due to an abhorrent institution that stains our history. They are the ones that should be remembered. Their stories told.

I have always been a sympathizing person. My first hero in elementary school was Martin Luther King, Jr. I gave an oral report on him and did papers later in junior high. I have always been the type of person that hates seeing injustice done to people and the hatred that divides communities and people over nothing more than color or ignorant biases. It never made sense to me and I never understood why people can’t be kind to one another and celebrate differences rather than fear them.

Some people made the point that many cemeteries have been likely built on over the years including white cemeteries, which I also think is awful, but in this situation PART OF THIS CEMETERY IS STILL HERE! Part of our history, this city’s history is still here in OUR NEIGHBORHOOD. We pass it every day! It is here with us and it should be recognized. It should be visited and reflected on. It should be acknowledged.

I visited the cemetery site today and saw the indentations in the ground and the old stone markers left on some of the sites where the slaves were buried. I couldn’t believe that this was just here, between houses and a pool, not in a historical site that you had to pay to see. No fanfare or brochure handouts. Just dusty old bones in the ground marked by grey stones in a patch of trees in the middle of a subdivision, silently waiting to be seen. I whispered to them before I left that I would do all I could to make sure they were not forgotten. That a marker in their honor would be made so they could be remembered. I sincerely hope I can make that happen.

Thru my posts on Facebook, I met a man named Keith Gibbs who has apparently already done a lot of work to try to have this cemetery recognized with a small group of others but they hit many roadblocks. He told me that there are cover ups and corruption surrounding the area from higher ups and people that don’t want this information out there. He was unsuccessful in his journey to get the site recognized, but he has agreed to hand over his research and findings to me in hopes I will be the one to get something done. ME, a curious girl with no real clout, lol. Yeah, ME, I’m the one. I’m the one that will make this happen where others failed. RIGHT?? Right.

Now, it should be said that I have never really been the figure head for anything in my life. I have never been the spokesperson, the leader the public person, the socialite. I am a shy person that works best from the shadows, behind the scenes. The one that does the work but doesn’t get the credit. And I have largely been okay with that role. It’s less stressful. But now people are looking to me to lead them on this issue. To call the shots and take the donations and create the marker. And that was all fine and dandy…. until CBS 17 messaged me asking if I’d like to do a story for them to help get attention and funding for the marker. I got excited and also nervous. I let her know that would likely be a good Avenue to take to get it done but I am still in the information gathering stage. I let her know of my meeting with Keith and told her I’d get back with her when I knew more. She was okay with that.

Honestly, I was relieved I had a reason to stall. I’ve never been on TV before! Cameras DO NOT love me unless its a selfie photo with a Snapchat filter that i’m taking of myself lol. I’m no public speaker. And also I still feel like it shouldn’t be me. I mean, it should since I discovered it and put it out there for the masses, but how can I be the face of this? Me, a white girl from small town Pennsylvania, be the face of a covered up slave cemetery? I feel guilty but also I do feel like there is something to white privilege and power and I hope to only use it as a force for good in this world and to help those with less privilege than I where I can. We only live once and I think a whole lot about how I want to be remembered when I am gone. When someone is building houses over my grave. I’d like to know somewhere out there I might be remembered fondly for doing something that was right in this world of wrongs.

I’m terrified to do the story, but I feel like it is my duty now and my responsibility. I am just so scared of fucking it up. What if I say something stupid or that can be taken out of context? This is such a touchy issue after all. I just want to do them justice. God help me. I just want them to be remembered.

#knightdale #slavery #history #coverup #cemetery #historic preservation #historical #north carolina #plantation #the south #scandal #civil war

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lupinusalbus · 4 years

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More on Jon, Dany & Sansa in Season 8

I rematched some of season eight recently and honed in on the finale in particular and two of Jon’s scenes with Tyrion. I wrote a post about it that got some good discussion, you can read it here. My contention was that those two scenes were the straw that broke the camel’s back and almost totally ruined Jon’s character, even making him into a caricature of his former self. My argument wasn’t that the rest of season eight was wonderful, since there were a lot of other plot holes and omissions. But I did think the series could have wrapped up better for Jon if the writers had not had him arguing with Tyrion and even justifying Dany’s clearly evil actions. Some people have told me they thought Jon was just “in denial” in that scene, but I’m not sure because the only thing that seemed to wake him up was Tyrion’s last comment about Arya and Sansa. Then he seemed to not know right from wrong after he killed Dany either, in another horrible scene with Tyrion. I think a lot of the discussion around season eight is related to what is going to happen in the books. I’m not defending D&Ds writing at all, but at least some of the unpopular events of season eight probably come directly from what Martin told them and then D&D messed up the execution because they were so focused on delivering spectacle over substance.

I can’t remember where I read it now, but its probably true that many of the events of season eight are slated to happen in A Dream of Spring. That may mean that it will be years before we ever find out Martin’s intentions about Jon Snow’s role in the plot after he comes back from the dead. I think its pretty certain that Dany is going to burn King’s Landing like she did in The Bells. One of the reasons is because it was even foreshadowed earlier in the show when Bran had the vision of the Dragon’s shadow over King’s Landing, and also Dany’s vision in the House of the Undying. If you recall, Dany saw herself next to the Iron Throne in a scene reminiscent of the finale, and also saw herself going across The Wall and seeing the dead Drogo and their baby. So her death was always going to be brought about by Jon, and probably in the Red Keep. Maybe there will be a second dance of dragons in the books, since Martin hinted at it, and maybe Jon will be involved, since he did ride Rhaegal. Or maybe fAegon will be involved, we don’t know.

I think there is reason to believe Jon will bend the knee in the books as well, but I don’t fault anyone who thinks otherwise. One of the reasons I think so is that Dany fed Jon’s line to Mance back to him “isn’t their survival more important than your pride?” Even though we know this line is especially rich coming from Dany, it is something that Jon would seriously ask himself. So there is a possible answer for people who doubt Jon would “betray” the North by kneeling. Tormund (I think) also says something like this about Mance when jon and he are walking together during the Wight Hunt. So it seems like this is a possible answer that was set up by D&D in the show, and that explanation may also be in line with what Jon tells the Northern Lords and Sansa. We don’t have to like it, and Dany may actually have been better off had Jon not bent the knee, but she kind of instigated the whole thing by feeding that line to Jon about his pride.

And Jon’s arc as a whole is meant to shadow Ned’s. It can be argued that Ned pulled off a big deception by keeping Jon’s parents secret, so he was capable of lying. But on the other hand, Ned’s downfall is linked to his being idealistic and doing his duty. He tipped Cersei off that he knew about Jaimie being her children’s father, and he trusted Littlefinger too. His arc in King’s Landing was about an honorable man walking into a nest of vipers. Sansa has the best handle on what happened to Ned, and that’s why she warns Jon; she sees Jon as being too much like him. Jon’s reasons for killing Dany also mirror Ned’s reason for “confessing” - saving the girls. After talking to Varys, Ned puts his pride aside and confesses to being a traitor.

Jon’s actions in the Red Keep echo Ned’s in another way. After the first sack of King’s Landing, Ned left in a rage over the murders of Elia Martel’s children. Jon confronts Dany about her burning of children after her “sack.” In some sense Jon’s killing of Dany finishes Ned’s arc, because Jon’s action brings about a “New Kingdom” which will hopefully be more just for everyone. Jon proves to be Ned’s son and not a Targaryen. In any case, this is another reason to think that Jon was not engaging in a deception when he bent the knee to Dany and became her lover. Had he done so, it would have weakened the elegance of his arc concerning Jon’s parallels with Ned Stark.

Sansa and Jon are both Ned’s Children and his “Spiritual Heirs”

The arc of Sansa and Jon’s relationship is one of the most fascinating ones in the series, and will probably be so in the books as well. In the show, Sansa reunites with Jon Snow after escaping an abusive marriage with Ramsay Bolton. The two were not close as children, although in the books they think about each other sometimes. In the show, after the two have an emotional reunion at Castle Black, one of Jon’s first actions is to tell Sansa that they will stay together after he leaves the Night’s Watch. This signifies how he thinks of her: he will take on Ned’s role as her protector. Of course this may be foreshadowing other things as well, but at the very least, Jon’s commitment to Sansa, Ned’s memory, and the Starks is on full display. Sansa has been bereft of the kindness and love of her family for so long, and Jon is restoring it to her. In her new maturity, Sansa apologizes to Jon for her haughty ways of the past, although Jon is quite magnanimous about it. Soon, she convinces Jon to try and regain Winterfell. Although Sansa has never actively disliked Jon, apparently she has gained new insights into his goodness and has accepted him as a true son of Ned Stark, even if his name is Snow. If something similar happens in the books, part of Sansa’s insight here may be related to her having spent time as the “bastard,” Alayne Stone.

Although there are hints of conflict between Jon and Sansa in the story, and Sansa is shown to be more perceptive than Jon about his relationship with Dany, Sansa is loyal to Jon. This is foreshadowed in the scene where Jon admonishes Sansa that they need to trust each other and can’t fight a war amongst themselves. Much is always made about how Sansa has learned things from treacherous characters like Cersei and Littlefinger, but she has also learned from Jon who may be the purest character on the show. The disagreements between Jon and Sansa revolve around trust and faith. Even though Jon has been blind in some respects, he is never really motivated by revenge or the pursuit of power. Sansa’s arc is often about finding the medium between her considerable ability to analyze and anticipate situations, yet trying to stay true to the ideals of Ned and Jon.

Had Sansa lost faith in Jon and turned away from him, this would have affected the symmetry of her arc with him. Instead she found a way to try and protect him, while at the same time maintaining the integrity of House Stark and retaining Northern independence. Together, the Stark children have ushered in a new era for Westeros. This was especially brought about through Jon (like Ned before him) making a fateful choice and taking upon himself a reviled label. Jon’s story, as it was given imperfectly in the series, is the fulfillment of a wider arc.

#jon snow #Sansa Stark #Ned Stark #got season 8 #Jon x Sansa #Rotten season 8 #Jon is Ned's spiritual heir

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thewatsonbeekeepers · 4 years

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Chapter 8 – Dream a Little Dream of Me: parallels with Doctor Who

What’s queer film and TV without a bit of Doris Day in your chapter title?

This was never intended to be a chapter by itself, but having seen @tjlcisthenewsexy’s fantastic video on Wholock parallels here X I had to start writing. Full credit for inspiration here to @tjlcisthenewsexy, who has definitely had many of these ideas independently, and I would fully recommend watching the video before you read this. I personally only really buy Moffat era Who as a direct parallel to Sherlock, largely because Moffat wrote both, but also because 2010-17 matches up exactly with our boys. Lots of people have drawn parallels between 2005’s Bad Wolf Bay scene (by Russell T Davies) and the tarmac scene – those parallels are definitely there, but I think they’re more due to common tropes in love-declaration scenes than from intent.

The Doctor Who episodes I’m largely going to be drawing on here are Amy’s Choice, Last Christmas, The Name of the Doctor and A Good Man Goes to War. Others will feature, but if you want a really strong grip on what I’m talking about, I’d recommend taking a look at all of these, or at the very least Amy’s Choice! But now – on with the show.

Time travel has always been possible in dreams. This line comes from The Name of the Doctor, which came out in 2013. The dream in question is a psychic telepathy connecting five of our main characters whilst they sleep, controlled by Madame Vastra. Much has been made of Madame Vastra being an explicit Sherlock mirror (X) with Jenny as her wife and explicit John mirror, so using a dream state to connect people across time should already ring TAB bells. But crucially, we’re not just focusing on telepathy here – we’re focusing on the ability of 19th century characters to use a dream state to connect with the 21st century. Given that we never see where River Song is connecting from, it’s safe to say that it is the 19th – 21st connection between the other characters that is important, like in TAB. The use of the word ‘always’ is really important here – it’s not saying that time travel is possible in dreams in the Whoniverse, but that it has always been possible. There’s an implication here that before time travel was invented, in a non science fiction world, dreams can still do this – and that’s what helps us to jump across to TAB.

In the dream sequence in TNotD, Jenny is supposed to lock up before they go into their trance, but she forgets. Intruders break in, but because Jenny and Vastra are unconscious they can’t defend themselves and so Jenny is murdered. This is the spur for everybody to wake up, to save themselves. Pretty much all of our dream states in Doctor Who are focused on the possibility of dying in the outside world, but TNotD is the one which articulates the problem of EMP theory most specifically. Jenny, our John mirror, dies because her protector’s unconsciousness means that she can’t protect her wife. (Vastra’s Silurian abilities very much put her into the role of protector here – she could save Jenny where Jenny couldn’t save herself, and frequently does.)

Between the time travel and Jenny, then, TNoTD is probably the best framework we get set up for TAB. This came out only a few months before s3, in which EMP began, so it’s safe to say that these ideas are well-formed in Mofftiss’s heads at this stage. However, if we jump all the way back to 2010 and Amy’s Choice, we can see that this has been in the works for a lot longer.

The first point of note here is the casting of Toby Jones as the Dream Lord.

Casting the same actor to play dream merchants, knocking characters unconscious and altering their memories and psyches? The universe is rarely so lazy. Other mirrors in this episode are easy to pull out. The Doctor and Sherlock have long been read as mirrors for each other – characters who have existed for a long time and are constantly evolving through adaptation, super-intelligent loners, but in case that wasn’t obvious, Moffat went to a reasonable effort to style them very similarly when both tenures began.

Both of these are very conscious remodellings of old characters. Much was made of Matt Smith being the youngest Doctor ever (26!), and Cumberbatch’s youth set him apart from the Rathbone/Brett image in everybody’s heads. There’s something young and modern here – but both still dress like they’re slightly ‘out of their time’, which of course they are. Coming to terms with modernity is the central challenge that Sherlock is going to have to face. And then, of course, there’s the hair – instantly recognisable to the character in both cases, yet remarkably similar.

If the Doctor and Sherlock are mirrors, Amy as the Doctor’s companion should be linked to John. Amy ran away on the night before her wedding, and whilst she is reasonably happy with Rory in the long term of the series, this episode is about her making the decision between domesticity and adventure – a pretty clear link to John in s3 and 4. This episode is particularly important for TST however, because Amy is heavily pregnant in the domestic dream – but she is far from enthused, torn between domestic life with Rory and wanting to run off with the Doctor. However, I grant the similarity with Martin Freeman isn’t striking.

Do note, however, the similarly uncomfortable dynamic in both of these photos – hilarious.

The parallel dream!verses created broadly represent John’s dilemma from TST, and if we followed Amy’s Choice as it seems on the surface, we would end up with a pretty straight reading of TST – John spends too much time with Sherlock, they’re all in danger, Mary dies and John is suicidal because of it. Broadly speaking, this works – Rory is killed in the dream (with a really nice visual parallel to TST) and Amy crashes a bus and kills herself because she doesn’t want to live without Rory. Amy picks the domestic sphere and although it takes several more series to play out in full, this is broadly the direction the series takes us in.

In both scenes, Sherlock and the Doctor are left standing off to the right, unsure of what to do – if you watch both scenes in parallel, it’s striking. There’s a great article here talking about how the angle demonstrates the Doctor to be powerless for the first time, amongst other things. X Amy asks the Doctor what is the point of him, and John’s declaration that Sherlock has broken his vow carries similar weight – they were supposed to save them.

The title of the episode is Amy’s Choice, and this, we’re led to believe, is the moment when Amy chooses Rory. I don’t believe this. The Doctor/Rory conflict goes on for a lot longer than this, and it’s far too early in their first series to resolve it. It would leave a lot of later episodes without nearly so much tension. It’s true that Amy does have some agency in choosing – the science is questionable, as the Doctor says they’ve all tapped into some space LSD equivalent from an unmentioned offscreen adventure which has induced a mutual psychic trance, which means that we’re not sure how much agency each of the characters has in this dream. It’s not seeded, and so it sounds like a fudge – deliberately. Because a pseudoscientific explanation like this can’t explain the Dream Lord himself, Amy and Rory point out, and the Doctor admits that the Dream Lord, the architect of the dreams themselves, was actually the Doctor’s psyche. The space LSD sounded like a fudge – and Amy and Rory expose that it wasn’t just a fudge on Moffat’s part, it was a fudge on the Doctor’s part.

And, crucially, what was the first thing the Doctor said about domestic!dream, long before he realised he created it?

“Oh, you’re okay. Oh, thank God. I had a terrible nightmare about you two. That was scary. Don’t ask. You don’t want to know. You’re safe now.” X

Later, when asked how he knew that the Dream Lord was him, the Doctor merely says that no one else hates him so much. Domestic!verse, then, is a manifestation of everything that the Doctor dreads – it’s his worst nightmare, being conjured by his subconscious. That nightmare involves Amy’s suicide, Rory’s death because the Doctor can’t protect them – this maps pretty neatly onto EMP theory and TST. Although John doesn’t kill himself, he is rendered suicidal in the domestic nightmare that is left behind. As the previous chapter discusses, Sherlock not being able to protect John is definitely a nightmare, but the nightmare also maps onto reality – John is suicidal, but he’s struggling to work out why, so he has to construct it through a heterosexual lens. John’s potential death and love for Mary are the two things that form the worst nightmare in both dreams, and the nightmarish sense is highlighted in TST by the deep waters metaphor.

At the very end of the episode, the Doctor’s reflection is still the Dream Lord, suggesting that this isn’t some psychic drug phenomenon, an explanation which was frankly crap. The Doctor’s dark side is still inside him. This feels like an allegory for mental illness, and mental illness crops up aplenty in Moffat’s depictions of the Doctor, particularly the later we get – the seeds of it are here. Again, although Sherlock is being killed rather than killing himself, we have seen the suicidal side of him before and it is made clear in TAB that his opinion of himself is low. EMP s4 is about him coming to terms with how he views himself, and the cognitive dissonance that we see in Amy’s Choice is a nice separation of the psyche in two that foreshadows the immense splintering that’s going to come in EMP, but particularly between John, Mycroft and Eurus.

Another nice parallel between s4 and Amy’s Choice is the idea of predictability. Way before we know that this is the Doctor’s dream, the Doctor displays a remarkable ability to finish what the Eknodines say before they do, an ability which becomes an obvious hint in hindsight. Moving over to TLD, Sherlock has similarly ridiculous powers to predict what other people will do; because this underpins TLD, it jumps out as being something that rings very false to me, almost like a parody of who Sherlock Holmes is meant to be, and so we should pay attention to it. An uncanny ability to predict what others will do – yup, that’s a dream world.

One key similarity that Amy’s Choice has with EMP theory is that a false dream premise is set up in both. Amy’s Choice suggests that there are two worlds, and only one is a dream; their survival depends on recognising which is the real one. This is, of course, a lie – both worlds are dreamed, and that false premise is created to trap them in the Doctor’s psyche, presumably until the Doctor dies (although the threat is never clearly explained). TAB sets up a real world in the form of the modern day and a false Victorian age, but the supernatural graveyard scene is the first hint that the reality/dream binary is not real, just like Amy’s Choice. This one scene is not an anomaly – the chronology of the ‘man out of my time’ scene coming after Sherlock gets off the tarmac suggests that such mixing is still going on, and we shouldn’t trust our senses. In case that point needed hammering any more, however, Steven Moffat gave us A Good Man Goes To War.

This episode is the culmination of a series in which Amy is actually an almost-person, and Amy has been dreaming all of their adventures with a flesh avatar actually having them with Rory and the Doctor. Here it is Amy, rather than the Doctor, who is dreaming, which is a little ambiguous, but there are two key aspects that parallel Amy’s Choice. The first is that, like Amy’s Choice, the flesh avatar/dream person threat doesn’t just go away. These words of Madame Kovarian are extremely important:

Fooling you once was a joy, but fooling you twice, the same way? It’s a privilege. X

Exactly what the Dream Lord does in Amy’s Choice. Furthermore, although there’s a later meta in blindness across Doctor Who and Sherlock which at some stage really needs writing, many people have made the point that Sherlock is associated with blindness throughout series 4, and so we should note that the architect of the dream people/flesh avatars is Madame Kovarian, better known (and usually credited) as the Eyepatch Lady. However, there’s one other key message they’re giving us, which comes at the end of the clip linked above – the baby’s not real. Both Amy’s Choice and A Good Man Goes To War feature Amy’s child, and in both cases the plot revolves around the emotional recognition that that world isn’t real. Given that we know that Amy is a John mirror, and that her choice between the domestic and the adventurous is consistently paralleled to John’s choice in Sherlock, this is a pretty huge indicator that something is up with Rosie even if we didn’t know it already. Indeed, the cot and mobile that the child has in Amy’s Choice are similar to Rosie’s. That baby never stood a chance.

The last episode I want to briefly invoke is Last Christmas. If we’re looking for dreams, this episode really goes above and beyond. The premise is that there is an alien species called the dream crab which latches onto your face and dissolves your brain whilst putting you in a dream so that you don’t notice. To make this more confusing, it often places dreams within dreams to confuse you – whilst you’re dying. This episode came out on Christmas Day 2014, so a year after series 3 aired but before TAB, so in Sherlock-time we’ve just entered the mind palace. The title, Last Christmas, is pretty helpful here I think – of course it has relevance within the episode, but this episode should also get us thinking about what was going on this time last year, when Sherlock was airing.

We’re no stranger to dreams within dreams at this stage, but it’s interesting how the saving-the-companion vibe is still going strong here. Ostensibly, that’s not what the episode is about at all – it’s a classic everyone-trapped-on-a-base-working-together episode, but the last five minutes tacked on the end suggests that it’s far more about the Doctor’s relationship with Clara, the episode’s companion, than one might think. In this clip (X) the Doctor thinks he’s broken out of the final dream but goes back to visit Clara and realises that she is now old, and that he’s missed her life. It culminates in him apologising for getting it wrong, for not coming for her in time, for failing her; we get more of this with Clara’s actual death later in the show, but given that it’s a kid’s show and Christmas, this scene is a touch lighter than that. It’s then that Father Christmas comes in to tell the Doctor that he’s still dreaming, he can still save her – and his first word when he wakes up is “Clara”. None of the others trapped in the dream have needed his help to wake from the vision and survive; Clara, who as the companion is our John mirror, specifically needs saving, and the Doctor needs to wake up from his dream within a dream to do that.

Nick Frost’s appearance as Father Christmas gave us all a good laugh, but he was also used as the indicator that the world we were perceiving was a dream world. This was made a bit of a joke of early in the episode – in a sci-fi world like this, are we seriously looking for what’s not realistic as the code to crack the dream? The exact same joke is made in Amy’s Choice, and here we’re hitting a pretty silly version of the show where they joke that just about the only character who can’t be real is Father Christmas. These hints about looking for what’s not real, though, should be taken as just that – hints. From the emergence of ‘something’s fucky’ theories early on in s4, this has been the abiding reasoning for the various forms of EMP theory that have sprung up, and they’re not wrong. However, if I had to put my money on a figure like Santa Claus, something iconic which functions as a kind of dream thermometer, I’d be guessing:

You were there before me. The fucky skull that glows, almost like a warning that this is too mad. Crucially, in Last Christmas they explain that Santa is a warning that your brain is sending you, picking the most unbelievable thing possible so that you know you’re trapped, dying in your brain. Santa Claus? Well, it’s a kid’s show, and it’s Christmas. But if I were picking a dream siren to tell me I was dying, I like to think that my subconscious would pick the glowing skull on the wall; without explanation, it’s an awful lot more direct.

There is more reference than necessary made to dream crabs making one blind, and between Madame Kovarian and the blind Doctor in the later dream episode Extremis, there’s a lot more to unpack there, but I’m going to leave that for sometime down the line, or for someone else to jump into if they would like. I also want to throw out a thought I haven’t quite come to terms with yet – the elephant in the room in Amy’s Choice. Arwel Wyn Jones would be proud of the script for Amy’s Choice – twice, it mentions the elephant in the room, and so I feel I have to do the same. The first time, you could blink and miss it – the Doctor calls pregnant Amy ‘elephanty’. But the second time, we get this exchange:

DOCTOR: Now, we all know there’s an elephant in the room.

AMY: I have to be this size, I’m having a baby.

DOCTOR: No, no. The hormones seem real, but no. Is nobody going to mention Rory’s ponytail? You hold him down, I’ll cut it off? X

The elephant in the room – that the baby’s not real? Possibly, but not what we normally take it to mean. Rory’s ponytail also has not shaving for Sherlock Holmes vibes, but again it’s not quite concrete in my mind. These little bits at the end aren’t quite tied up, and I would love to hear what people have to say about them. That, however, is for another day! The next chapter in this series will be jumping back into episode-by-episode analysis with TLD – see you there.

#emp theory #wholock #tjlc #thewatsonbeekeepers #meta #my meta #mine #bbc sherlock #chapter eight: dream a little dream of me #tjlc is real #johnlock #sherlock holmes #doctor who #steven moffat #mark gatiss

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1awyerup · 4 years

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💚- A memory that makes them feel guilty

[This memory comes in the form of a conversation, since aside from the ways it made Parsley feel, all else from the scene is lost; the details of the room are easy to guess at, but impossible to know for sure. The words spoken, the look on Martin's face, the memory of the moment itself is hazed with emotion and only these things remain. He can remember getting off of work at 5, taking an earlier leave for a very special reason. A date with a very special person. The idea had been sprung last minute, but not too late for him to drop by and grab some flowers on the way to the restaurant.]

[Where he sits, and he waits. And he waits. And he keeps waiting. Patiently at first, and then increasingly less so. The drive home is silent, his hands gripping the wheel tight enough to ache. Ache just like his chest does, never ceasing as he arrives home to the apartment that he and Martin share. He doesn't bother to take his shoes off, briefcase and flowers gracelessly dropped to the floor by the entryway as he makes a beeline for their bedroom. The door is cracked, but the yellowy light that pours from it doesn't feel quite as warm or welcoming as it normally does.]

[He enters on Martin sitting quietly on the bed. When they lock eyes, he stands before the taller man and crosses his arms over his chest. Parsley's foot taps against the floor, demanding an explanation. But what he doesn't expect is when it's given right back to him, those crossed arms and angry expression.]

" -- So that's how it is. I could give you the same look, Parsley. It doesn't feel very good, does it? "

[Parsley's foot stops tapping, redirecting that energy to turn the gears in his head.]

" ... What do you mean? "

[Martin scoffs, and disappointment is thick in his tone when he carries on. Never letting up, enough to make Parsley think carefully of every breath he takes. Measuring them, weighing them, sending them in and out with uneasy precision.]

" Ha. You really forgot, then... I don't know what else I expected. This was a stupid idea, after all. "

[Martin sounds exasperated. Defeated, as he sighs.]

" -- Yesterday night. You promised me. You promised me that you would come home from work early and spend the night with me, watch a movie or something. I waited all night for you. No call, no show, nothing. I went to bed at 11 and you still weren't home. Does any of that ring a damn bell to you, or do I need to keep grilling? "

[Martin stands from the bed then, and points a finger in Parsley's direction. Gently pokes him in the chest with it, to enunciate his every word with hurt in his wide yellow eyes. The lawyer swallows naught but dust, deciding to keep his dry mouth shut. His heart races-- it all comes back to him now, when it's too late. He did promise that, didn't he? Jesus...]

" You stood me up! In our own apartment, you stood me up. I can't believe you forgot about me. "

[But NO, that isn't right at all! Parsley forgot about the plans, sure enough. But how could he ever forget about Martin?]

" I didn't FORGET about you, Martin, I just-- "

" -- You just what? Were too busy? Had more important things to do? Didn't even care to apologize? "

[His gut twists at these accusations, wanting immediately to bring up how Martin just minutes earlier made him look and feel like an idiot. If that was the point, it sure worked. It DIDN'T feel good. At all. But the only move Parsley can think to make is to defend against the claims that cut through him like butter, and hold his aching gut. Because Martin can't actually think that's true. Can he? That Parsley thinks he's unimportant, or worse yet not worth an honest apology... right?]

" No! Stop it, that's not... you know that isn't true! "

[Unfortunately for him, Martin has had enough excuses... enough anything. Combing his fingers through long red hair, he sits back down on the bed. Slowly his head drops into his hands, voice shaking. It's the closest to crying Parsley will ever see him, and they both know it.]

" ....You keep saying that, so why doesn't it feel like it? Why did you leave me hanging like that? Fuck, just... go on, will you? Go sleep on the couch. You have work in the morning, and I want to be alone. "

[The way Martin says the word "work" is the same way you speak of an enemy, of something you hate with a personal brand of bitterness. When he looks back at his partner as he exits, the usually energetic designer is lying down. Turned with his back facing him. Parsley's heart lays to rest at the bottoms of his shoes, bruised underneath with every step from there to the living room. He grabs no blanket, no pajamas on the way out of their room.]

[And he certainly doesn't do any sleeping once he gets there, either.]

#📈 Answers.#📈 Drabble.#long post #{haha uh oh! trouble in paradise am i right}

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prettyboysdontlookatexplosions · 4 years

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so i am finally forcing myself to conclude my magicians rewatch with the last two episodes of s4, out of some combination of completionism/masochism/truly could not even process where everything was leaving off plot-wise the first time through, and i KNOW that i am UNFASHIONABLY LATE to the party of being mad about the magicians s4, but this is as it has always been a blog for whatever it is i cannot stop screaming about, so, some screaming re: not necessarily objectively the worst but the things that make me, personally, most enraged about the worst hour and a half of television i have watched in my life:

-before we even get in here, there’s just so much about… the entire show and especially this season… that makes no sense if the way it ends is Quentin Dies, so above all i am mad because this show tricked me into thinking that it was complex rather than incoherent. even setting aside the queliot of it all (which LOL), why have the entire conflict about quentin going to blackspire if you’re then going to double down on his sacrificial impulse a season later? why have him say he hopes to be a dad someday - a very tender and meaningful thing to come from a character who started the series unable to imagine even wanting a future for himself, whose deepest fears as surfaced by the mind prison back in S1 involve being unable to live independently and hurting his family, which shows such an evolution in how he sees himself and what he believes himself capable of - only to kill him 5 episodes later? is it literally just to make it hurt worse?

-so much is infuriating because it is ALMOST good! there’s ALMOST a very interesting and evocative metaphor about how the magic martin chatwin used to torture plover relentlessly keeps him alive in the poison room, something that hearkens back to eliot’s observation way back that he had all that power and still couldn’t stop thinking about the room where it happened. but then it’s all thrown in with plover of all people delivering all this shit about how people can change but no one will let you which is just, why? why would you put that idea in his mouth? what are you trying to say here?

-quentin looks EXTREMELY hot in an unzipped black sadness hoodie, very tony stark in iron man 3 vibes. this is oppressive to me. quentin should not look this hot while having to engage with such nonsense!

-the fish… the fucking fish… why would you specifically write that joshfish needs eye contact from a character who can pop out her own eye… and then use that to sideline margo from saving the most important person in her life… WHY

-alice giving margo relationship advice COULD be amazing but IS stupid because it’s the second time this season that a female character is like, “maybe i AM too much of an idiot to identify my own feelings until someone else points them out to me,” also because of the fish thing

-the alice/quentin romantic reunion… i don’t know. i don’t know what to fucking do with this. i think it is the second most infuriating thing to me, after quentin’s death, because it feels so regressive for both characters? why is alice getting back with her boyfriend of 3 years ago when her arc this season seemed to be about learning to live with her past without being trapped by it? what of eating gummy bears in modesto? it could have been a very beautiful moment for BOTH these characters who are so pathologically haunted by regret to reach a level of maturity and care that allowed them to say, we both love each other deeply and want to be a part of each other’s lives, but not the way we meant that three years ago, in a new way as careful deliberate friends which we’ve never really had a chance to be. and instead it is… the least romantic romantic scene in the history of television?

-there is so much i cannot make heads or tails of in the decisions around quentin in these two episodes and this is like top of the list, honestly. how the fuck are we supposed to read quentin’s decision to get back together with alice? because the explanation that makes sense is that he is traumatized out of his mind and extremely depressed and 2 out of the 3 most important people in her life are possessed by omnipotent god creatures maybe forever and ultimately yes he DOES love alice and he DOES trust her and no part of him is capable of engaging with anything like romantic feelings right now but he’s kind of like, well, you know what, why not. why not, if i feel like complete garbage and my best friend/unresolved former life partner love interest situation are probably going to die (especially since julia going goddess was like one of the closest things they still had to hope for beating the monster, as stated by julia herself in the previous episode!), just get back with my ex i don’t hate anymore. she’s into it, she’s here, maybe that will make me feel better. and what makes me feel like i have swallowed horse tranquilizers is that THAT IS FULLY HOW JASON RALPH PLAYS THIS SCENE???? we have seen quentin in the throes of actual love and desire, with both alice and eliot! IT DOESN’T LOOK AT ALL LIKE THIS! but that interpretation only makes sense if at some point later you are going to unpack it and undo it, which you can’t do… if he’s… dead. so: ??????????

-when alice floats the possibility that quentin has maybe managed to forgive himself, which is a bonkers thing to even be in the script at this point like that is always on some level relevant for quentin but so not in the top hundred concerns relating to the actual situation at hand broadly or on the alice/quentin level, nothing about quentin’s response says the answer is yes??? he takes this heartbreaking shuddering breath and dodges the question??? again, congruent with a reading where he is getting back with his ex out of intense depressed person logic but not remotely squarable with “and then he dies emotionally resolved”??? what are you trying to communicate to us insane writers/brilliant actor jason ralph i DON’T UNDERSTAND

-everyone else TELLING quentin he still loves fillory… let my son whomst is about to die have agency to define his own fucking feelings!!!!! also, bonus bananas reason to sideline margo with babysitting fish josh: of all the characters on this dumb show i think she is like fully the only one we could argue still loves fillory!!!

-there is so much wasted potential in the monster… honestly i can’t even go there in delineating all of it. so much evocative shit is thrown out (and hale appleman gives such a weird fun sad gross strange complicated performance) and then nothing ever means anything.

-again: there’s ALMOST something great in the idea alice and quentin toss back and forth that growing up doesn’t have to mean discarding everything about who you were before. there’s ALMOST an idea there which circles all the way back to the very first episode of the show, where quentin decides that his problem is not that he is depressed and sad and scared but that he needs to grow up and grow out of the person that he is. but what is the show trying to say in having his girlfriend from 3 years ago tell him this? why, again, if their rekindled relationship is supposed to be legible as real, does he spend the entire interaction looking like he wants to, uh, die? WHY does the show have alice echo back to quentin a sentiment about himself (that it’s beautiful that he really believes in things) that was last heard FROM MARGO, RIGHT BEFORE QUENTIN BLEW UP HIS RELATIONSHIP WITH ALICE BY HOOKING UP WITH HER?

-why… would you have… your beautiful sad depresso bean… express out loud the sentence, “if this couldn’t make me happy, then what would?”... and then kill him 40 minutes later and try to swear up and down these two things are unconnected. why. why would you have this moment of the despair of confronting the fundamental randomness of the universe, of being forced to abandon the quest to find meaning outside yourself, and follow that up with, um, literally anything other than the realization that meaning comes from within, can only be determined by the self, etc. why is that not the particular strain of wisdom quentin has spent four years building towards? especially given the occasional glimpses of it he’s previously had? (sometimes it is good merely to eat bacon and touch hands; the fuckin mosaic timeline) why don’t we go from the idea of fillory saved my life to my own capacity for belief saved my life, i saved my own fucking life, that’s a goddamn power i can take with me anywhere? or like, EVEN the fact that the fillory-flower decides that loving the idea of fillory IS enough, there’s… places to go with that, with the idea that things are what we make of them, we are the ones who make things matter or not… but no. now we can drink magic kool-aid and die stupidly. that’s the payoff.

-jason ralph of course acts the absolute shit out of this scene which makes it even more insulting!!!!!!!!!!!!!!!!!!!!!!!!! how dare you use his beautiful face, the most expressive face in the history of faces, to go there!!!!!!!!!!!!!!!!!!!!!!!!

-i cannot believe there is so much bad television still to go after this

-do they have penny23 state out loud “it should be her choice” to make it feel like it’s okay for him to then go and make that choice?

-kady stating out loud that all she wanted to be penny’s girlfriend is… one of the most hateful things i have ever seen on television

-the fact that margo is in the mood for making out while things are at a critical point in Operation Save Eliot… hateful!

-julia immediately backing down from “fuck you for ending the 5 minutes of bodily autonomy i get every season” to “let me make moon-eyes at you”... H A T E F U L

-IN GENERAL, the hideousness with which every single fucking female main is treated in these two episodes is loathsome because it has forced me to finally understand the goddamn g*me of thr*nes people… for years i watched them be like, “yes, very much rape all the time, but sansa is so hardcore!” and just shook my head pityingly… but i too was fooled. i too was fucking bamboozled into genuinely loving 4 imaginary women that the show refuses to grant bodily autonomy or basic dignity or full personhood. sorry sansa people. i judged you too harshly this whole time.

-i mostly don’t hate josh or margo/josh but josh explaining to quentin why margo is mad makes me want to commit an act of physical violence

-there is SOME OTHER UNIVERSE with SOME OTHER SEASON 4 where the finale culminating in a celebration of the power of collaborative magic is very interesting and moving and thematically relevant. i would have LOVED to watch that season.

-why do we get to see the monster appreciating the beauty of the world 30 seconds before he dies? what is the point of this, other than to taunt us about what the monster could have been?

-everyone has said this 500 times but i will say it a 501st: it is literally unbelievable that quentin betrays no reaction whatsoever to eliot being monster-free.

-why the fuck is the scene in the seam staged the way it is!!! why does quentin take 800 years to throw the fucking bottles in!!!! why does his death look like a music video from 2004.

-to identify quentin as having the most beautiful and thematically lovely discipline possible and then two episodes later turn it into a snappy one-liner to usher in the worst thing i’ve ever seen on a television program…. haaaaaaaaate

-i can’t even be coherent about this scene between quentin and pod person penny except to REITERATE that it should be ILLEGAL for someone to give a performance THIS GOOD for writing THIS BAD

-wait i do have one thing to say which is re: “then i found brakebills, and all that went away” - enraging to me personally BECAUSE: the exact moment i fell in love with this dumb show was the closing of season 1, episode 6, the secrets magic in the trials, the moment the show careened away from the narrative it had been selling apparently straightforwardly for its first half-season - that quentin was only sad and sick because he didn’t know who he was, that after all his pain came from in fact being from secretly more special than everyone else - by laying out bare what was very, very evident in quentin’s actual behavior and temperament, which was that in fact brakebills hadn’t fixed him, in fact he had come to brakebills and remained exactly who he was, “this person that i fucking hate.” that was so true, and wise, and real, and felt like something really special that i hadn’t ever seen articulated quite so clearly and poignantly. so… to directly contradict that amazing moment of self-awareness and honesty and vulnerability… HATE

-not even gonna talk about this dumb fire scene except that scoring it to a song that includes the line “slowly learning that life is okay” is very very evil

-and, once again, julia echoing quentin’s card trick from the pilot could be really beautiful… in literally any other fucking context!!!!!!!!!!!!!

-in conclusion: HATE

#the magicians #the magicians negative #? is that the fandom etiquette... it's been a while

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jess-rewatches-prodigalson · 4 years

Text

Episode 6: All Souls and Sadists

My thoughts are heading your way.

SPOILERS AHEAD

0:40 - “No as a white man. We’re terrible.” hahaha I hate Martin on principle but that’s hilarious - and somewhat truthful.

1:00 - Notice how Ainsley and Malcolm have similar facial expressions when talking to their father? They both do this thing where they sort of smile and look at the ground in a “Dad’s crazy” kind of way. It’s almost like they think their Dad is endearing in a very frustrating and dysfunctional kind of way? They also both shake their heads and close their eyes a lot when talking to Martin. Even the tones of voice that they use with Martin is similar. They start speaking to him calmly and softly but they end the conversation angry, frustrated and desperate. You can really tell that they’re siblings.

2:32 - “It’s not the right one.” How did the car salesman know Malcolm was looking for a specific car? If I were the salesman I would’ve interpreted that as “It’s not the right car for me. What else can you show me?”...and then show Malcolm a used Honda Civic or something.

3:50 - Malcolm is completely losing it. He’s so desperate. You can see how much pain he’s in during this scene. Look how sad his eyes are. You can tell how close to the edge he is. Also - is this foreshadowing? Is this why Malcolm looks so broken in the 1x19 promo pics? Is he going to revert back to his mute, scared 11 year old self?

6:35 - Despite how broken Malcolm looks in Gabrielle’s office, he looks and acts remarkably put together in this scene. He’s calm, rational, and professional. He’s also subdued.

6:43 - There’s a look that Dani gives Malcolm right here. She’s concerned about him. Rightfully so. His behaviour is wildly out of character. This is maybe the calmest, most serious he’s ever been at a crime scene.

7:30 - Dang. This woman is OCD and very numb to her husband’s murder. Did she even care about her husband? I mean I know they were getting a divorce but I would be more upset than she is if my neighbour died - and I don’t even talk to him.

8:20 - Right here. Malcolm just stopped profiling. He’s trapped inside his head. Overwhelmed with empathy for the little boy who just lost his father. Overwhelmed with the realization that this woman and his own mother feels the same way about their children. He and Ainsley are Jessica’s everything.

8:30 - See this look in Malcolm’s eyes? That sadness and empathy? That’s a good man right there. That’s not a killer.

9:00 - You know, right off the bat, this kid is off. No child who has been through trauma that recently is comfortable talking that openly and calmly about how they feel (or how their rabbits feel) because they haven’t had time to process how they feel yet.

9:15 - You know. I feel like the fact that Martin appeared to be such a good dad to Malcolm during the first 10 years of his life really compounded Malcolm’s trauma. It ruined Malcolm’s ability to trust. It ruined Malcolm’s ability to look fondly at his early childhood memories.

9:46 - Again. This kid is weird. “I think she’s not that sad.” What? What child talks like this less than 24 hours of the death of a parent? He’s calm and articulate in a way children in emotional pain rarely are. It’s strange.

10:35 - I love how Malcolm is interacting with this kid the same way that Gil interacted with him as a kid. Because Gil made Malcolm feel safe when his whole world fell apart and Malcolm wants Isaac to feel safe. It warms my cold, dead heart.

10:55 - Malcolm’s self-deprecating humour is really heartbreaking.

11:28 - Tell me I’m not the only one whose heart breaks when Malcolm asks Ainsley if she’s okay. It’s something about the way his eyes widen. He looks so concerned for his little sister and I love it.

11:45 - I love Ainsley BUT the severity of her ambition is a little concerning. However, I don’t blame her. Chances are the only time Jessica ever showed Ainsley any attention (between her alcoholism and worrying about Malcolm) was when Ainsley achieved something extraordinary. Makes me wonder what kind of a student Ainsley was like in school. What kind of extracurriculars did she do as a child?

12:00 - Jessica’s behaviour in this scene is wildly inappropriate but also completely understandable. She’s so concerned with her children’s well-being. She always is. It’s why she meddles in their lives and tries to order around her adult children as if they’re 10 years old. Her personality in general is a little extreme, cold, and controlling. I’ll say it again - Jessica lost everything except her children when Martin was arrested. If Jess had some true friends who stuck by her then (or now) I bet she would’ve been less of a controlling force in her children’s lives.

12:46 - Holy crap. Is Malcolm sleeping with that photo? He’s pulling it out everywhere. The car dealership. His psychologist’s office. His Mom’s house. I know he’s in a fragile mental state right now but that level of obsession with a photograph is not healthy.

13:09 - Has anyone else been trying to figure out what time of year the Surgeon was arrested? So far the flashbacks look too warm to be between November - February (when there’s usually snow) but we’ve also had confirmation that Malcolm was in school. Therefore, it was during the school year. So it was either in September, October, or sometime between late March - early June? I’m thinking it’s probably closer to June because that’s when camping season generally starts? Anyone else have ideas?

14:20 - I’m genuinely surprised Jessica didn’t make Malcolm stay the night after that little outburst. He looks positively terrified. He’s clearly looking off into the distance because he’s hallucinating. You’d think she’d jump on that and keep him at her place for the night.

15:08 - Martin might be the most dangerous criminal in Claremont because he’s so manipulative. Watch him try to manipulate Stanley. Martin is clearly doing it deliberately. Martin is so desperate for attention that he’ll do and say anything to be the center of attention. He always has an ulterior plan. Ugh....actually it kind of reminds me of a much more extreme version of Ainsley....which is slightly concerning.

17:00 - UGH. Gil why did you have to walk in now? Dani was just about to get Malcolm to talk about what’s bothering him. She was so concerned about Malcolm you could see it on her face. It was beautiful.

17:21 - I love that JT says what we’re all thinking. Where do you get a stat like that?

18:25 - I wish we could’ve seen the scene where Malcolm has to convince Gil to let him get beat up for a potential sadist. That would’ve fuelled my heart for days....also Tom Payne looks super attractive in this gym outfit.

20:15 - You know, I don’t think Malcolm is a masochist. I think he’s so depressed and in so much constant emotional pain that sometimes he forgets that his life is important. He forgets that he matters to people. He subjects himself to physical pain because it numbs out the emotional pain. He’s not a masochist - he just needs an escape.

20:49 - There’s Papa Gil. Look how annoyed he is. He totally wants to give Jake a piece of his mind for trying to hurt Malcolm. You can see it. Too bad he won’t because it was technically consensual.

21:56 - Seriously? How fast is this woman and how quiet is she? Dani looked away for maybe 5 seconds and didn’t hear the woman book it toward her? Nah. I don’t buy it.

23:00 - Dani is a badass. JT is a total big brother look at how concerned he was for Dani. I love it all.

23:15 - Proud Gil is everything. <3

23:45 - This little pep talk that Gil gives Malcolm is precious. Gil is Malcolm’s Dad in all the ways that matter. Look at how concerned Gil is about Malcolm. Gil knows. He knows that Malcolm is spiralling. *sigh* My heart is breaking.

24:10 - Again. Where did JT go? Sometimes JT just disappears in the middle of an episode with no explanation.

25:15 - “It’s what you say to a kid.” Is it Gil? Because you’ve spent the past twenty years of your life trying to ensure that Malcolm is okay. Why do you think Malcolm is so cut up about Isaac’s current predicament? It’s because Malcolm is trying to be as good a man as you are and he thinks that he’s failing.

26:04 - Why is this dude always half-naked? Seriously. This whole episode he’s shirtless.

26:21 - Do you think Ainsley dated much in high school? Given the way Jessica is currently treating her boyfriends I can’t imagine that it would’ve been easy for Ainsley to date.

27:10 - THIS. I feel this. “Everything I know has been coloured by your resentment”. This is real. My Dad was abusive. He left (court-ordered, long story) when I was ten. Everything my brother and I know about our Dad and his past is coloured by our Mom’s resentment. Even though we know he was a bad guy, we still wish we could’ve met the guy that Mom fell in love with. We wish we could have happy stories about his past that aren’t coloured by his mistakes. Ainsley’s reaction here is totally justified. Sometimes you’ll do anything to find the one story that reassures you that your Dad wasn’t a total loser.

27:36 - “Did you love us?” That one hurt. The real answer is no. He didn’t. He’s a psychopath. He’s incapable. And deep down Ainsley knows that but look at her eyes. You can see how desperately she wants to believe her that her Dad loves her. Ugh. Martin is scum. He’s such a good manipulator. I hate it so much.

32:50 - This whole scene with Malcolm barging into the interrogation room is amazing. I mean I have nothing to point out that isn’t blatantly obvious but holy moly this is a good scene. Makes you wonder if Gil was ever worried about Malcolm becoming like Martin.

37:00 - A wild JT has reappeared.

38:00 - This scene is perfect. The juxtaposition between Bright and Isaac is beautiful. The insight to Malcolm’s childhood is heartbreaking. The empathy on Malcolm’s face is heartwarming. The concern on Gil’s face. You can really see who Malcolm might have become without Gil.

40:30 - This Gil and Malcolm conversation is perfect. “Not on my watch.” My heart is full.

42:00 - Does Malcolm have any sense of self-preservation? I know he’s desperate but hanging out at a junkyard in the middle of the night is a bad idea.

Thanks for hanging out. Catch you again soon.

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rainhalydia · 5 years

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I wasn't in fandom at the time, so I'm curious about how you felt, as a Throbb shipper, about GRRM confirming Robb didn't love Theon as much as he loved Jon? And how did Throbb shippers in general feel about it?

Well, I can’t say how Throbb shippers in general felt. Not that happy, I’d guess? I can tell how I felt and still feel about it, though I didn’t see that interview until long after the fact so I didn’t catch any drama anyway. To sum it up: I don’t care.

A much longer, rambling word-vomit under the cut:

I think I summed up my feelings very exactly, but I kept thinking a lot about this ask and having lots of opinions, so here we go. I’ll preface this long-ass rant by saying I have no professional training in literary analysis. I just read a lot, overthink everything and had two classes in college about literature.

First of all, this tendency to give great weight - i.e., to care at all - about what writers have to say about their own work is completely foreign to me. I mean it literally - the main framework of literary analysis I’ve encountered throughtout my education was basically centered around the text, and I very much adopt it without even giving it conscious thought. I don’t seek out interviews, addendums, essays, anything at all. Sometimes I read it if they fall on my lap. Such was the case with this interview.

It’s not that writers don’t have things to say, or that those things are not interesting or valuable or sometimes shed a new light on their work. It’s that at the end of the day they’re not important! Only canon is canon. I don’t mean to sound snob or pedantic, like the books are law or something. And any canon has a number of valid interpretations (within limits), they’re not absolute, they allow some wiggle room. But any text needs by definition to stand on its own without writers poking their heads inside the room to say how we should interpret it. If we need imput from the writers to do it, then the text is already bad, it failed, sorry. Interpretation is the reader’s job. In fact, it’s the reader’s prerrogative.

Much of this hipe around authors, I believe, has to do with the rise of social media and how close to the public writers suddenly were. And I feel that applies especially for authors like Martin, who are very talented and have created a very rich world that has become really popular. And ASOIAF is still ongoing. It’s natural that everyone wants to pick at his brain and know where the story is going!

And here I make my second very unpopular point: authors are not specialists in their own work.

He knows more than anyone about it, certainly, and currently Martin is probably the only person who knows how things will end (though we have plenty of bare bones the show left), but he is, as he has admited himself, a gardener. The story was bound to get away from him, given his own writting style. The group of people who will be specialists on his work don’t include him, and they don’t even exist yet. They will only emerge when he’s stopped writing (so probably after his death) and his work has ended (if it was finished or not). Then people can read every single thing he has ever written, which is much more than ASOIAF, and analyse it to death, pick it apart from every single angle, the ones Martin intended to be there and the ones he didn’t.

Again, I don’t mean to come across as snobbish and say Martin does not know his own work, characters, creation, etc. He does! But no writer can leave all their biases behind when they start writing, so these books are not neutral to begin with. Add to it the lots and lots of variables readers will bring when they interpret the text, and any book is always going to be more than the author intends by default.

If my argument seems absurd, let me point out that it has already happened to a certain degree: my own interpretation from reading ASOIAF is that it is full of anti-war, anti-violence messages, and yet from it has sprung an adaptation that, in my own interpretation, glorifies war and violence to a ridiculous degree. I’m not alone in these opinions, btw. They’re pretty common in fandom spaces, so I’m sure I didn’t pull them out of thin air. We can argue until we’re blue in the face that the Ds can’t read anything for shit, they certainly don’t do themselves any favors, but you know, they interpreted the books well enough to correctly guess who was Jon’s mother and get permission to adapt it in the first place. I’ve since seen people (I’m not naming names, anyone still reading will just have to take my word for it, but I swear they do exist) defend that the show is a faithful adaptation of the books and that the glorification of war was there too, and others say that the show didn’t actually glorify war, it had an anti-war message! Who is wrong? Well, I don’t know. As I said, the GRRM’s specialists are yet to come, and I’m certainly not one of them. What I believe, however, is that all of us brought our own biases to the same text, interpreted it according to them, and came to different, often conflicting conclusions.

See also what GRRM said about the partnership between Jaehaerys and Alysanne and what most people made of their relationship from Fire and Blood. See the sept sex/rape scene controversy. See the Dany/Drogo controversy.

Do you get why I put little weight in Martin’s interviews to form my opinion? So given that and my own background, I’ll chose my own interpretation of the text rather than Martin’s apocrypha.

What does the book canon, and the book canon alone, say about Robb’s feelings for Theon? Well, unless new material is released, we’ll just never know for sure, because Robb isn’t a pov character. We do have Theon’s side of things - he has a certain affection for Robb, he’s more of a brother than his own brothers, he wishes he had died with him or at least that he had been there at the moment of Robb’s death, depending on how sincere he feels like being. We also know a little bit of what other characters thought of their relationship. Bran says Robb admired Theon and enjoyed his company, and it’s implied that he finds this baffling. He’s also jealous that Robb spends more time with Theon and other adults doing adult things than with his brothers. And though I’ve talked at lenght about interpretation and wiggle room to understand things, it’s also pretty evident that Robb is down to hear Theon talk about his sexual conquests in some detail as long as his brothers aren’t around.

Of course, Bran is a child and much as he loves Robb, their time together is cut short and Robb is not his main concern anyway. We get most material about Robb and Theon’s relationship from Cat’s pov. There’s a lot we can analyse and Damien had already done a great not-meta about it, but sadly he’s since deleted, thank you to the demons who got on his case, but for me the most damning piece of evidence that Robb feels very strongly for Theon is this:

“Robb will avenge his brothers. Ice can kill as dead as fire. Ice was Ned’s greatsword. Valyrian steel, marked with the ripples of a thousand foldings, so sharp I feared to touch it. Robb’s blade is dull as a cudgel compared to Ice. It will not be easy for him to get Theon’s head off, I fear. The Starks do not use headsmen. Ned always said that the man who passes the sentence should swing the blade, though he never took any joy in the duty.”

So to unpack what is going on: nearly drowing in grief, Cat rambles to Brienne about lots of things, including Theon’s impending death sentence. By Northern dumb tradition, Robb must be the one to behead Theon, his former best friend turned enemy, turned betrayer, turned brother-killer. And she says that it won’t be easy for him to do it.

Now, it can be argued that this is partly because of the sword. They’ve lost their sharp valyrian steel and Robb uses an inferior blade, not as sharp. I reject this interpretation as the only explanation (and here comes my own biases) because she mentions the headsman right after. A headsman might be more experienced, but it’s not like he’d have valyrian steel to do it either. Rather, I think she’s talking about how being able to pass Theon off to be killed by a headsman would be easier on Robb psychologically, but it’s not really an option, so Robb will have to suffer.

At this point, to Robb’s knowledge, Theon has: 1) betrayed his trust and used the ruse of negociations with Balon to escape; 2) attacked the northern shore and enslaved his people; 3) attacked and took control of his home; 4) made his brothers hostages; 5) killed his brothers; 6) denied his brothers the right to be buried in a decent way; and finally, 7) burned their bodies and exposed them for all of the North to see.

And after all this, having to be the one to kill Theon will make him suffer.

We know one of the moments Robb gets the angriest in the books is when Bran is threatened by the wildlings. He is the acting Lord and keeping his little brothers safe is his responsability. He nearly bites Theon’s head off when Theon saves Bran in a risky way and we know that was uncharacteristic because Theon is still sulking about that a whole year later. So his siblings are dear to him, but even after Theon does everything from steps 1 to 4, he’s still sure they’re not in danger and that Theon won’t do anything to them. That’s how much he trusts Theon. It takes literal murder to make him change his mind.

But then he does change his mind. He believes Theon did those awful, awful things to his brothers. After that knowledge has had time to settle in, after he believes the worst of Theon, he has this amazing convo with Cat that I’ll quote whole because it’s amazing:

“Enough.” For just an instant Robb sounded more like Brandon than his father. “No man calls my lady of Winterfell a traitor in my hearing, Lord Rickard.” When he turned to Catelyn, his voice softened. “If I could wish the Kingslayer back in chains I would. You freed him without my knowledge or consent … but what you did, I know you did for love. For Arya and Sansa, and out of grief for Bran and Rickon. Love’s not always wise, I’ve learned. It can lead us to great folly, but we follow our hearts … wherever they take us. Don’t we, Mother?”

Is that what I did? “If my heart led me into folly, I would gladly make whatever amends I can to Lord Karstark and yourself.”

Lord Rickard’s face was implacable. “Will your amends warm Torrhen and Eddard in the cold graves where the Kingslayer laid them?” He shouldered between the Greatjon and Maege Mormont and left the hall.

Robb made no move to detain him. “Forgive him, Mother.”

“If you will forgive me.”

“I have. I know what it is to love so greatly you can think of nothing else.”

Catelyn bowed her head. “Thank you.” I have not lost this child, at least.

So we know that what is going on here is that Robb is buttering Cat up before breaking the news of his marriage to Jeyne to her. One of the possible interpretations supported by the text is that Jeyne is in love with Robb and Robb is not in love with her. It’s a common reading that he married her out of honor and to avoid a possible Jon Snow situation. During their marriage, he seems to grow fond of her - Cat notices he likes her company better, and her brother’s, and that he laughs when he is with the Westerlings - but he also keeps some distance. She’s afraid of Grey Wind, which pretty much means being afraid of a part of him. In turn, he’s attentive, courteous, and a bit touched and annoyed at her public displays of affection.

Then there is this gem:

“His heir failed him.” Robb ran a hand over the rough weathered stone. “I had hoped to leave Jeyne with child … we tried often enough, but I’m not certain…”

And this is more Damien’s not-meta than my own, but once you see it, you can’t ever unsee it. Compare the bolded parts in that quote in the first Cat-Robb convo to the part bolded in the second one, put them side to side and tell me you can’t see the difference. In the first one, Robb basically spells it out that he’s made a mistake out of love, that love turned him into a fool, but it was stronger than him. At that point of the narrative, Robb’s biggest mistake (and notably it was HIS mistale, it was not a case of the narrative screwing him over) was to free Theon. A mistake that caused him to lose his brothers, castle and a significant chunk of political standing. The consequences of marrying Jeyne, which is pretty much only to lose the Freys, don’t even compare - especially because the Stark faction believes they can win their support back.

And this love that made him act like a fool is further described in the second bolded part of that quote. He loved so greatly that he could think of nothing else. That is some passion there, folks. Even considering that he’s trying to get Cat on his side, it strikes me as so sincere and heartfelt. And again, maybe it’s my own biases showing, but that sounds like an all-consuming love, the kind of love that doesn’t go away easily. I don’t see that same depth of emotion on the second bolded quote… they tried often enough. Does it add up with the first part? I don’t think so.

My conclusion, and forgive me if the shipper gogles come in, is that the love that hurt him, that consumed him, is the love he had for Theon. Not for his wife. But it was in the past, one might say. His marriage was just beginning, he and Jeyne grow closer, etc. I’ll quote two more bits:

“I cannot speak to that. There is much confusion in any war. Many false reports. All I can tell you is that my nephews claim it was this bastard son of Bolton’s who saved the women of Winterfell, and the little ones. They are safe at the Dreadfort now, all those who remain.”

“Theon,” Robb said suddenly. “What happened to Theon Greyjoy? Was he slain?”

Here we are nearing the Red Wedding. Some Freys come to pretend to make peace and pressure for a wedding to Edmure and they bring news of the battle of Winterfell. Professional writers don’t often abuse the “suddenly” like us poor fic writers, so when he says it was sudden, i believe it was sudden. I believe it came out of nowhere, in fact, and that Robb was the only one in that room considering Theon’s fate.

Roose Bolton removed a ragged strip of leather from the pouch at his belt. “My son sent this with his letter.”

Ser Wendel turned his fat face away. Robin Flint and Smalljon Umber exchanged a look, and the Greatjon snorted like a bull. “Is that … skin?” said Robb.

“The skin from the little finger of Theon Greyjoy’s left hand. My son is cruel, I confess it. And yet … what is a little skin, against the lives of two young princes? You were their mother, my lady. May I offer you this … small token of revenge?“

Part of Catelyn wanted to clutch the grisly trophy to her heart, but she made herself resist. “Put it away. Please.”

“Flaying Theon will not bring my brothers back,” Robb said. “I want his head, not his skin.”

Aside from Catelyn, who is torn, and maybe the Greatjon (I don’t know what snorting like a bull is supposed to convey), no one in that room approves of torturing Theon, they’re all rightly creeped out. But no one would blink an eye if Robb had ordered Theon flayed alive. Instead, he commands the torture to stop. Of course it’s the only decent thing to do, but let’s all appreciate how the character who is always arguing for peace, end of conflict and letting things go for the sake of the living and what can still be saved instead of more violence, is tempted by it. Robb is the only one who shares the full extent of Cat’s grief here, but he’s also the only one to try and stop the senseless punishment.

I joke all the time about how Throbb is canon, and it’s mostly jokes. They are not canon in the sense that Cat and Ned are canon, and I don’t think we’ll have any more facts added to their story together, there probably won’t be any flashbacks that hint at a romantic relationship between them. But looking at the text alone, what we have of it as of now, it’s possible to support a canonical reading for this ship. This interpretation is there in the text if you want to see it. In fact, some things make more sense if Robb was in love with Theon.

And you know, having a ship be supported by canon is not actually a condition that needs to be met to ship anything. It’s just something I particularly need to get into it. But even if you read Theon and Robb as just friends, it’s a reach to say that Robb didn’t love Theon.

Of course, we have Robb demonstrating affection towards Jon in the books too. He is Robb’s chosen heir, to Cat’s despair. Despite all the negative propaganda bastards get and the fact that the mother he so respected and loved disliked and distrusted Jon, Robb considers him a full brother, to compare to Sansa’s constant “half-brother” from the beginning of her journey. They’re seen having a good time together (they have a horse race in their very first appearance in the books, and Mance recalls them getting into trouble together as children), so they enjoy each other’s company.

Yet there’s also an undercurrent of sibling rivalry between them, seen from Jon’s pov. We have this bit with Benjen:

Benjen gave Jon a careful, measuring look. “You don’t miss much, do you, Jon? We could use a man like you on the Wall.”

Jon swelled with pride. “Robb is a stronger lance than I am, but I’m the better sword, and Hullen says I sit a horse as well as anyone in the castle.”

This is hilarious to me. My uncle paid me a compliment for being perceptive, a skill not at all related to martial skills! Time to compare my martial skills to my brother’s, even though we’re both 14 and there’s lots of more tried warriors in the world and we haven’t even had our last growh spurt! This is sure to impress a seasoned ranger!

Of course we know Jon’s rivalry towards Robb comes from his bastard status, but it’s interesting to me that it’s something that centers around Robb alone; he doesn’t compare himself to Bran or Rickon as far as I remember. That can be explained by their very similar ages and growing up together, I think. Jon has the advantage of being older than his other true born brothers.

Jon also says this:

Bastard children were born from lust and lies, men said; their nature was wanton and treacherous. Once Jon had meant to prove them wrong, to show his lord father that he could be as good and true a son as Robb. I made a botch of that. Robb had become a hero king; if Jon was remembered at all, it would be as a turncloak, an oathbreaker, and a murderer. He was glad that Lord Eddard was not alive to see his shame.

To Jon - and to the other Stark children - Robb is often the model to be emmulated. I won’t dig up all the times they hold him up as the ideal of bravery. Jon’s feelings are not unique in this sense, though they are when it comes to the rivalry. They all admire Robb. From Robb’s side, I don’t remember hints of him admiring Jon or any of his siblings. He certainly loves them, likes them, and enjoys spending time with Jon at the very least.

But Theon is the one Robb admires in text. Bran says it, and Theon too:

“There is nothing small about the letter I bear,” Theon said, “and the offer he makes is one I suggested to him.”

“This wolf king heeds your counsel, does he?” The notion seemed to amuse Lord Balon.

“He heeds me, yes. I’ve hunted with him, trained with him, shared meat and mead with him, warred at his side. I have earned his trust. He looks on me as an older brother, he—”

Readers often dismiss this as Theon’s garden variety empty bragging. To be fair, Theon very much distorts reality in his head to fit his own idea of how things should be, but this is one of the few times when he’s not doing that. He’s genuinely proud that Robb thinks so well of him. And since he’s so sensitive about what people think of him and people not giving him the credit he thinks he deserves, I’m ready to believe his account of facts this one time.

What I get from canon, regarding who Robb loves the most out of Jon and Theon, is that he loves them differently. He might even love Jon more by ASOS; it’s a wonder that we have hints that he still cares about Theon at all by the end, after the murders of who we know are the miller boys, but who Robb thinks are Bran and Rickon.

He had different relationships with them. Even if you reject the reading of Throbb as romantic, friends and siblings are not interchangable, even if you’re out there calling close friends brothers or if your brother is your best friend. It’s different sorts of affection. At the beginning of the series, Robb and Theon seemed closer to me than Robb and Jon - let’s not forget that Jon’s favorite is Arya, and the biggest family drama at that time has to do with Jon and Cat. They grow even closer as they go to war together, and then they’re pushed apart by circumstances and by Theon’s actions.

But okay, this is not long enough yet, so let’s say that this is an invalid framework of analysis and Martin’s word of god has as much weight as canon, and that in fact, we’re 100% certain that Robb loved Jon more than Theon.

Why does it even need to be a competition? No one holds it against Ygritte that Jon loves Arya more. Asha has a steady boyfriend that she’d gladly marry, and still she takes risk after risk for Theon. Ned was probably the greatest love of Cat’s life, but her interactions with her brother and uncle are still emotional and moving in great part because of the depth of her love for them.

Robb loving Jon more doesn’t take anything away from Theon. He doesn’t love Theon less because he loves Jon more, love is not a finite resource. And Robb loved Theon plenty, be it in a familial, friends or romantic way. If it diminished, that was a result of Theon’s choices alone.

#Anonymous #throbb #long post #and i mean long

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