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lia-jones · 3 years

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Growing Together - Chapter Twenty-Two - Goodbye Is a Silent Word (Part One)

Author's note: So sorry for the no-show! I just got a new job and training was exhausting, and it was hard to keep up with the writing. Hopefully, everything will normalize now! I hope you enjoy, and if you can write me a line, it always makes my day! Lots of love!

Things moved swiftly after we received the terrible news of Mina’s passing. As expected, after the initial shock, Victor quickly assumed his focused, hands-on demeanor and in less than an hour, we had picked Owen up from school, gone to the apartment to speedily pack our bags, and got in the car to go to Terry’s ranch, where we would spend the next two days, preparing for Mina’s final goodbye.

The drive was tense, to say the least. Victor and I had yet to say a word about our previous argument, so it felt like all the accusations, all the anguish and potential apologetic words were buzzing between us, wanting to be heard, yet superseded by the noisy chaos of the recent events.

Victor was silent, seemingly calm, focused on the road ahead. It took a wife’s keen eye to notice by his posture that there was tension on his shoulders, and that although his eyes seemed focused on the road, I could see the struggle in them, telling me he was weathering an emotional storm.

Understandably, Victor was in a fragile place, so I decided to forget about our fight and the unresolved issues between us, at least for the time being, and simply be there for him in whatever way he needed me to be.

Mina’s death seemed to affect my son as well, despite having only met her a few times. He was unusually silent, kept within himself, his mind busy with thoughts that I didn’t know but worried me.

“Terry’s organizing Mia’s funeral?” I decided to break the silence, as I felt it suffocating me.

Victor let out a long exhale.

“I am.” He finally spoke after a long moment. “I already spoke with Terry, I’m taking care of everything.”

“Have you spoken to any of Mina’s relatives?” I suggested. “We should call her family before making any major decisions. Maybe there are traditions they want to see followed.”

“We are her family.” He answered in a low voice. “She had no one else.”

For a moment, I could swear I heard a twinge of guilt in his tone. There was a glint of sadness in his eyes, lasting but a second, only to be replaced with his well-known poker face. I kicked myself internally for bringing the subject up. I felt like holding his hand, telling him that he did the best that he could, he couldn’t have known, he shouldn’t feel guilty. But given the circumstances, and how evasive Victor was being, I wasn’t sure if my gesture would be well received. I decided to refrain from reaching out, waiting for him to come to me when he felt ready.

“Do you think dying hurts?” Owen spoke from the backseat, diverting my thoughts.

I froze, not really knowing how to answer his question. By my side, Victor tensed, his grip on the wheel tightening even more.

“I don’t know, Bug. I guess it depends on how one dies.” I tried to close the subject.

“Do you think Mina hurt?” He looked at me with inquisitive eyes.

“No, I don’t think she did.” I lowered my voice as if whispering my answer would be less painful for Victor.

“What about my mother?” He asked again. “Does killing yourself hurt?”

My heart sank with sadness, seeing my son, at such a tender age, already considering things like death and the loss of a loved one.

“I wouldn’t know. I hope it doesn’t.” I gave him a tender look.

“Do you think there is a Heaven?” He kept going, this time not even pausing to get an answer. “Do you think Mina went to Heaven? Do you think my mother is there? Miss Dillon says hurting yourself is a sin, do you think God forgave her? And if He didn’t, where do you think she is now? Do you think Mina can tell her I’m alright? Do you think they can see us from-”

“Enough!” Victor roared inside the car, making both me and Owen jump. After a sharp, deep breath, he continued in a flat tone. “Can we please make the rest of the trip in silence?”

“Maybe we could talk about it later, ok, Bug?” I reached back, squeezing his knee, trying to soften the blow of Victor’s outburst.

Silence fell between us, pregnant with words that wouldn’t be uttered. Owen, however, seemed to have more to say.

“I’m sorry Mina died, Dad.”

Victor’s face contracted in a very brief grimace. He felt guilty for yelling, I could tell.

“Yes.”

Victor’s expression swiftly shifted back to his characteristic emotionless one. And I could swear that, at that moment, I could see him diligently rebuilding those unbreakable walls, the ones he surrounded his heart with, the ones that protected the sensitive and fragile side of him from the rest of the world. Only this time I felt I was being kept out as well.

The iron gates that led to Terry’s ranch, the same we had seen covered in flowers and lights nearly a year ago, were now adorned by a black ribbon tied in a single knot, signaling the death of a loved one in the house. As they opened wide and we passed that threshold, we all felt the weight of that new reality: a life without Mina.

Mina was not someone we saw very often or that would take much time in our lives, but when she was present, she filled them with love. She was wise and kind, with an assertiveness that wasn’t imposing, but welcome, just like a bright sun entering a room, warm and cozy, staving away the darkness. And now that she was gone, all the space she filled now vacant, I couldn’t help but think of all the things that we would miss about her.

We would no longer be greeted by her bright smile and warm hands holding ours, and I would never see again the tender gaze she had for Victor, and how he responded in kind, with a calm welcoming expression he saved for her alone. I would no longer feel the warmth of how much she seemed to dote on him, always surprising us with his favorite foods or a box full of taffy, and calling him Hummingbird, although he insisted on being called by his name. I would no longer feel the occasional hand squeezing my shoulder, usually when we were alone, her way of approving of me and the way I loved her boy.

“You will stay with Owen at the ranch while I take care of the funeral arrangements.” Victor stated as he stopped the car in front of the mansion.

“No, I want to go with you.” I declared. “I don’t want to leave you alone.”

Victor let out another long tired sigh. When he finally opened his mouth to retort, he was interrupted by Terry tapping on his window. He rolled it down.

“Come inside, already.” She smiled widely, although I could see the sadness in her eyes. “The food will get cold.”

“We assumed you guys skipped lunch, so we prepared a meal for you.” Susan welcomed us, as we entered the mansion.

“Nothing too fancy, just some soup.” Terry chimed in. “I’m not much of a cook, most of the cooking was done by-”

“Do you have the documents?” Victor interrupted, still standing by the door, clearly uninterested by small talk at the moment.

“They are in the study waiting for you as I promised.” Terry walked to Victor and took his arm, pulling him inside. “But now it’s time to eat. It won’t do you any good to go through today on an empty stomach. Besides, your son wants to eat, right, Owen?”

“Right.” Owen almost whispered, his expression still a sullen one.

“Are you sad, sweetheart?” Terry came closer to Owen, ruffling his curls. “No long faces, Mina wouldn’t want that. She wanted all of us to be happy, and live long and fulfilling lives. That’s how she would want to be honored. Now, let’s all eat and spend time as a family.” She waved at us to come inside the kitchen.

Victor turned away, excusing himself, as Owen and I sat at the table.

“Do you mind staying with Aunt Terry while Dad and I are away?” I squeezed the boy’s shoulder lovingly.

“Of course he won’t mind!” Terry made a face at him, making him laugh. “Susan can use some extra help in the stables. Will you help her take care of the horses?”

“Can I?” Owen’s face lit up.

Before any of us could answer, we heard the sound of an engine starting outside.

“Is Victor leaving?” Terry got up from her seat.

Without much thought, I ran outside, not believing he would leave without me. Sure enough, Victor was in his sedan pulling away. Noticing my presence by the front door, he paused his departure for a moment, catching my glance. The pain in his eyes was unbearable for me to watch, and I lowered my gaze. A second later, he started moving again, leaving in a hurry, a cloud of dust billowing up behind him.

“He took the documents from the study.” Terry came by my side. “He must have gone to the morgue.”

I stood at the door for a moment, considering Victor’s actions. Clearly, there wouldn’t be a chance for reconciliation in the near future, since he didn’t even want me around.

“The food is getting cold.” Terry grabbed my arm, a knowing look on her face.

I couldn’t say a word after, lost in my own thoughts, playing with my food. At least Owen was doing much better than I was, the prospect of playing with the horses distracting him from his father’s mood and sudden absence. Truth was, in a blink of an eye, I felt like I had lost my footing. Victor and I had fought before, and some of those fights were incredibly ugly, but never have I ever felt so distant from him. Never had he deliberately walked away from me. That was more painful than any nasty words he could ever say to me.

Susan took Owen to the stables after lunch, while I stayed behind with Terry, helping her clean the kitchen. Again, we worked in silence, Terry probably remembering Mina going on and about in her duties, while I was wondering how Victor was, if he missed me by his side, if I should call to check up on him.

“This is the last one.” I declared, putting away the last clean plate. “Do you need my help with anything else?”

“I’m so glad you asked.” She laughed with relief. “Follow me.”

We entered Mina’s room like it was a temple, silently and respectfully. The room was large, humbly yet tastefully decorated. Over the antique dresser, nothing but a vase with some dried flowers and a book. It was amazing how the whole room spoke of Mina. It was simple and modest, but it had a cozy and loving energy, just like her: a silent yet powerful tenderness.

“Susan was supposed to help me with this, but it’s best that she stays with Owen. And I didn’t want to ask Victor. It would be too painful for him.” Terry apologized, opening one of the drawers. “We need to find something suitable for Mina to wear.”

Silently, Terry and I went through Mina’s clothes, taking several items out. Terry took a box out of the wardrobe, sitting on the bed with a ragged sigh as she opened it.

“Victor should have this.” She handed it to me.

It was a simple shoebox lined with wrapping paper, but inside there was a treasure. There were many little objects: a children’s uniform tie, a Rubik’s cube, a pair of baby socks. The rest of the box was filled with pictures of Victor throughout the years, and newspaper cuttings from articles about him since he started LFG. It was the kind of thing a mother would have. My mother had the same things for me and my brother. I gave Mina a silent thank you for loving my husband so well over all these years.

“When my sister-in-law left to live in Paris, Victor was in a pretty bad state.” Terry commented, as she took the small tie from the box. “I never understood how she could leave Victor behind like that, especially knowing my brother and how he always treated his son. It always got to me how Victor idolized her, still does, and she never deserved any of his love. Mina was his real mother.”

She handed me the tie, and for a moment I could picture my husband as a child, poised and oddly mature, wearing that uniform. And I wondered if he had his poker face even then, or if he had sadness in his eyes, the same emotion he now hid, at that time so perfectly open and visible to the outside world.

“Mina would ask him to help her in the kitchen, and they would talk for hours on end, as they peeled potatoes, or baked a cake. She was his biggest support in that cold house. Until Greg decided his son was spending too much time with the help.” Terry let out a bitter laugh. “God forbid he would let that boy have something good in his life.”

“What did he do?”

“One morning, he simply told Mina to pack her bags and leave immediately. Victor begged his father to let her stay, but Mina decided it would be best to leave, and not make any more trouble for the boy. She ended up at my doorstep, asking for a place to stay while she looked for another job.”

“And she stayed ever since.” I smiled at Terry, my heart full of love for her.

“I hired her on the spot, knowing how much that would mean to Victor. And she became my family.”

I looked at the room again, her presence feeling so much stronger now. She was so simple, so humble, yet she could take so much room in one’s heart.

“Don’t take Victor’s actions too seriously. He needs time to wrap his head around this. You must know as well as I do that he isn’t very good at dealing with his own emotions.” Terry squeezed my arm.

My eyes immediately filled with tears, all the painful recent events coming to mind.

“No, it’s that… Things are not well, Terry.” It hurt to talk, my throat suddenly feeling incredibly tight. “We had an ugly fight today, that’s probably why he is avoiding me. Owen’s grandmother showed up and filed for custody, we are at risk of losing him... It’s been stressful.”

“Dear God, Andrea! No wonder both of you look so stressed.”

“And now he is cold, and he doesn’t want me near him. And I feel like I’m losing it all, everything is slipping from my hands…” I sobbed in desperation. “I don’t know what to do. I’m so sorry for breaking down like this.”

“No need to be sorry, we are family.” She stroked my back soothingly, as I let out the tears I had been holding all this time. “I understand how you would feel that way, but I know my nephew and I know you. First of all, it’s Victor, that woman does not stand a chance. He will not let his son go due to anything in this world, of that I am certain. And second of all, Victor adores you. In no time, he will be here with us, fussing over you like he always does. You love each other, I’m sure you will work it out.”

Looking at the bigger picture, Terry was probably right. We were going through a stressful time, and we just had a fight, as many couples do. From the point of view of the observer, we had been tried and tested many times before, and we always stood strong, no matter how much we swayed. But I knew Victor, and I knew this wasn’t just a lovers’ quarrel to him. He never let himself feel too much, but when he did, he felt deeply. I had gone against his plans, questioned his decisions, when he was trying his best for our family. Maybe he was right to be angry at me. I should have been more supportive. But I also couldn’t ignore what my heart was telling me.

After we picked the outfit for Mina, Terry went to the study to make some work-related phone calls, leaving me to my own devices. I was tired of thinking about the past few days, overanalyzing each one of my and Victor’s words, so I decided to go to the living room and read something while I waited for Owen to return from the stables. Or Victor. And that’s when I saw it.

The piano must have felt lonely in that living room, looking like it hadn't been touched in decades. I sat on the stool and opened the lid, my finger running over the keys without pressing them; a greeting of sorts. For a moment, I wondered why there would even be a piano in Terry’s house, since it was evident that nobody played it, but then it hit me: it must have belonged to Victor’s mother. Victor’s parents owned the property for a while, so they probably left it behind.

“You can play it, it’s tuned.” Terry spoke from the hall.

“I don’t want to be disrespectful.” I said as I slowly closed the lid.

“It’s actually very fitting. Mina loved when my sister-in-law played it.” Terry smiled, coming close to me to open the lid again. “That gives me an idea. Would you play some music at the funeral?”

How could I refuse?

“What do you want me to play?”

“There is one that Mina liked in particular, I don’t know which.” Terry went to the bookshelf, retrieving an old leather folder. “But I have some scores here, see if there is something appropriate.”

I took the folder from her hands, opening it. On top of the first sheet of music, I could read the title Serenade, by Schubert, Listz’s arrangement.

It wasn’t a hard piece to play I had learned it around the age of eleven. It took me a while to get reacquainted with the melody, but after a few strokes of the keys, it became second nature all over again, allowing me to submerge deeply into the music, letting feeling take over, so much that I didn’t even notice Terry leaving the room. At that moment, I was a lover serenading someone, and my beloved responded in kind with the higher notes, telling me my love was reciprocated.

A hand came from behind me, pressing on my dancing ones, a dissonant chord echoing in the living room. It was Victor, a shadow in his eyes I had never seen before.

“Not this one.” He declared in a tired tone.

“Terry asked me to play for Mina’s funeral.” I hurried to answer, almost scared he would scold me. “I assumed it was her favorite one.”

Without a word, Victor took the leather folder, skimming through it. He handed me a few sheets of paper. The title read Reverie - Debussy.

“This one.” He declared as he turned to leave.

“How did it go?” I spoke before he disappeared again. “You left without me.”

Victor stood without a word, his eyes on the ground, not daring to look at me. The clench of his jaw told me he was deciding to ignore me yet again.

“Dad! Dad!” We heard Owen run towards us. “Susan let me feed the horses! And Onyx was so cool, he did one of those tricks you taught him.” Owen jumped with excitement to Victor, arms up, expecting his father to pick him up like he always did.

“Right.” Victor muttered, ignoring Owen’s silent request and leaving the room.

I couldn’t react for a moment, seeing how my husband, the most loving father I had ever seen apart from my own, was acting towards our son. This wasn’t the Victor I knew. This was someone else entirely.

“Why is he mad at me?” Owen’s voice trembled. My heart broke as my eyes landed on my son: he looked like the scared little boy we had picked from the orphanage, small and fragile, his shoulders slouched and his head down, afraid of making the slightest movement.

“Come here, Bug.” I opened my arms and he ran into them, taking refuge in my embrace. “Dad is not mad at you, he’s just sad. Some people show sadness by crying, your father gets weird like this.”

“Just like when he looked scary but just wanted to be my friend?” Owen spoke against my chest.

“Exactly like that.” I stroked his red curls. “Your father will always love you, as I will. You’re just too adorable.” I tickled his ribs, making him giggle.

“Can I watch you play?” He gave me that honest and bright smile of his, comforting my heart.

“Not until you do a scale with me.” I pretended to scold him. “You won’t be able to progress if you don’t practice, Mister.”

After practicing the scale for a few moments, I turned my attention to the score Victor had given me. I almost didn’t need the score for this one, I knew it by heart, my teacher was a big admirer of Debussy. I started playing the song, putting my entire soul in it, reliving my teacher’s expressions as my fingers brought the music to life.

And then I noticed it in the reflection on the piano’s reflective varnished wood, above the keys. The sunset had revealed him, standing by the doorway, secretly listening to me play, his head down. I didn’t look back or acknowledge his presence. Instead, I put all my love into those notes, hoping it would soothe his heart, would bring him the comfort he wouldn’t allow me to express.

#mlqc victor #mldd victor #love and producer #mister love queens choice #mister love dream date #Growing Pains - Series #growingtogether #mlqc li zeyan #mlqc fanfic #victor x oc

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soveryanon · 4 years

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Reviewing time for MAG178~!

- Notable thing this episode was the intensity of the sounds (understandable given where they were), almost covering Jon’s words at some point, and the fact that once again… we got statements-specific ones. It used to be a bit unclear whether the sounds we were hearing belonged to the scenery around Jon or if they were emanating from the statement itself: for example, the sounds of the war (MAG163) were surrounding Jon&Martin before the statement while they were immersed in the domain, same with the carousel (MAG165) or the burning building (MAG169); and likewise, the wailing of the worms (MAG166) was audible outside of the statement (surrounding Martin at the end of the episode, when he wasn’t even in earshot of Jon)… but the squelching we could hear during Jon’s statement was a manifestation of what was happening in Jon’s narration. The hooks attacking Francis (MAG172) were a bit more ambiguous: were they audible outside of the statements, and Jon was commenting on them as they were happening? (Jon himself, after all, was described as present in the audience in the statement itself.) In The Extinction domain (MAG175), were the scuttling and hisses of the creature audible anyway around Jon? Or were these sounds created by Jon’s statement?

It’s been a bit clearer with these last three episodes that Jon’s statements seem to be creating/emanating these sounds, or allowing them to be heard: we could hear the sounds of running footsteps and pants while Jon was unmoving (MAG176); we heard the clock of the room, the chair creaking or scraping, the pills getting swallowed, the altercation, the distant wailing, the peeling of Doctor David’s face… and these sounds disappeared (including the clock!) when Jon got out of his statement, while the tinny muzak reappeared (MAG177). This time, Jon was stated to be in a closet: yet, we heard the factory gates opening, the grunts of the “things”, the tools they used, the sizzling of flesh, the cutting… and same thing, they faded once Jon was done with the statement.

(MAG176) ARCHIVIST: “Feet pound, silent whisper, silent blood on lips, blood on teeth, blood-scent of hated prey flows through veins and into feet pound silent in pursuit. [IN THE BACKGROUND, CONSTANT SOUND OF A CHASE IN THE FOREST: FEET RUNNING, PANTING, SHUFFLING OF LEAVES AND BRANCHES] Teeth smile. Ready to kill. [SHUFFLING OF BRANCHES]”

(MAG177) ARCHIVIST: [SIGHING] If you say so…! [INHALE] [STATIC RISES] [DOOR OPENS AND CLOSES] [FOOTSTEPS, A TELEPHONE RINGS IN THE BACKGROUND] [CLOCK TICKING IN THE BACKGROUND] [STATIC FADES] ARCHIVIST: “Hi. How are we doing? You can call me Doctor David. […] Like I say: we have all the time in the world! [STATIC RISES] And good old Doctor David isn’t – going – anywhere.” [STATIC FADES] [SOUNDS FROM THE STATEMENT FADES] [THE TINNY MUZAK RESUMES]

(MAG178) ARCHIVIST: “The only smell… is the smell of cleaning products. The door finally opens, [RUSTY DOOR OPENS] and another thing stands there. […] Finally, he is led over to a grate on the floor. [SWIFT METALLIC NOISE] He barely even has time to register the red-hot wire cutter [SLASHING SOUND] before it is in and out of his left arm with practiced, professional ease, neatly removing a small wedge of muscle. […] [SHUFFLING, CRACKING AND ELECTRIC SAWING SOUNDS] The last thing he sees before returning to the processing line… is everything going into the garbage. There wasn’t a single, suitable cut. [ANGRY FOOTSTEPS] “Useless,” one of the butchers says. And Tyler is gone.” [STATIC RISES] [SOUNDS FROM THE STATEMENT FADES] [STATIC FADES]

Is Jon “creating” them through dream-logic? Could Martin&Basira hear them, if they stayed around as Jon’s audience, or are these sounds only present on the tape we’re hearing? I’m keeping in mind that the tape recorder is not acting like an out-of-the-box machine: through Jon, it seems to be able to “interact” with the content of the domain/the stories Jon is describing, as affected as the characters…?

- Jon explaining how this domain worked was super interesting (and terrifying):

(MAG178) ARCHIVIST: Uh… [EXHALE] Technically, a lot of them… actually aren’t people? BASIRA: … Come again? ARCHIVIST: A–a lot of them are created by this place as, uh… “set dressing”, I suppose? Th–this domain, the fear of it requires these… queues, these… this, uh, intricate hateful bureaucracy o–of hundreds of thousands of doomed souls, it needs far more than the number of people who actually ended up here. MARTIN: Wait–wait–wait, so… so it just… makes the rest of them up? ARCHIVIST: Er, maybe one in a hundred or so are actually real? The rest are there to make those people’s fears more acute. MARTIN: … That’s… Ugh, that’s somehow more disturbing.

… because it felt almost like some level of consciousness was at work? Or, well. Once again, a symbiosis between the Fear and its victims, the fact that the domains are literally their fears given enough autonomy to construct that reality and hurt them even more. (I’m thinking back to Jon’s “You want to talk about psychological projection, try viewing the metaphysical world through the lens of a being that is, by its very nature, a reflection of your own obsessions and fears.” from MAG175: he was, in context, talking about his own relationship to The Eye, but that… actually applies to every victim in the domains.)

Things getting me in the statement: the implicit rules/functioning of the domain being so unpredictable and odd that Tyler couldn’t expect them (“He looks around, unable to find a pen, a pencil, anything. The thing sat behind the desk does not respond to his questions. Finally, Tyler takes his fingernail, now long and ragged from his time in the queue, and painstakingly scores the words into the paper.”), the hurt and the pain never being factored by the creatures around him, the fact that his reactions were never timed exactly right (didn’t try to flee when he could have; would like to flee later but knew it was too late in the line), the fact that trying to find a meaning in his own sacrifice was utterly denied (“Is it not better, at least, to be useful? […] The last thing he sees before returning to the processing line… is everything going into the garbage. There wasn’t a single, suitable cut. ‘Useless,’ one of the butchers says.”). There were such a range of different fears in the whole statement: the anguish coming from limited options, the idea of suffering for nothing, of being evaluated and imprisoned into categories outside of one’s control, the crushing feeling of inadequacy, of accepting sacrifices and yet being labelled as a disappointment. Jon described it as an “intricate hateful bureaucracy of hundreds of thousands of doomed souls”, and there was indeed a big aspect of it evoking modern workplace environments (… unfortunately).

Even with the description and the beginning of the statement, I was surprised that this one was a Flesh domain! I do get the “Meat is Me” aspect (the idea of being reduced to meat and value, of being stuck in an abattoir), but I reaaaally felt a Vast vibe in it (being one amongst thousands, of time and space spreading, of being meaningless) with dots of Web (being absolutely dispossessed of agency, having the “choice” to rebel and being conscious enough of the decision not to) and maybe of Lonely (disconnected from the others, lost-in-the-crowd yet unable to reach anyone). One gigantic blob of terror, I know, but it’s a nice feeling when Jon labels a domain and I got a slightly different vibe, while seeing and understanding Jon’s logic!

(- Re: time, it was also very striking in this one that Jon is not exactly describing things as they are happening, but condensing them, since this one would spread through “years”:

(MAG178) ARCHIVIST: “Time has no meaning in this place – but that does nothing to lessen the certainty that Tyler has been in this line for years.”

Or. Well. That time experienced in the domain is an absolutely subjective experience, to the point that it might be possible that, actually, Jon is still telling the story as it happens although there would be no way for his words to match the rhythm of the events he describes? It’s still dream-logic, so whatever can happen.)

- ;; Once again, domains affecting victims’ abilities to remember or be conscious of anything that happened to them before the Change (or creating memories to hurt them more efficiently):

(MAG163) ARCHIVIST: “Next to him, Charlie saw Ryan, who he’d known since childhood – though the other details were hazy. Ryan gave him a thumbs-up and an encouraging smile – before his face exploded inwards to a sniper’s bullet, peppering the boat with shards of bone and gore.”

(MAG164) ARCHIVIST: “There was never a time before the disease, no matter what the old bastards tell you. It has always been in the village, always festered in the dark corners where nobody could stomach to check, where good neighbours wouldn’t dream to speculate.”

(MAG165) ARCHIVIST: “Its pace remaining as it ever was, it does not care for coming pains as you are torn. Doesn’t it know who you are? No… And soon… neither will you. […] You will be someone again, someday. […] “I’m still Hannah!” you try to scream, but are you? No. Perhaps there’s some Veronica as fragments there, or Julian, or Anya, but… no. You feel the last of names and “who” you might have been be torn away and borne towards new bodies. New pages, blank; determined to be people.”

(MAG166) ARCHIVIST: “When had the crushing pressure in his chest become literal? When had the empty promise of the horizon finally vanished completely, replaced by the pitch darkness of this “forever wall of earth”? Sam did not know. Time had no meaning here. […] His existence was static, and eternal. Immutable. “Sleep” was only a memory, because even the prospect of unconsciousness might have made his present state slightly more bearable. Food as well, he knew, must be a thing, for he could feel the hunger, but his imagination failed to picture it. The only smell he knew was the damp, and the dirt.”

(MAG169) ARCHIVIST: “How long as she lived here? How long have these cramped, dingy rooms in the back of this sprawling rundown tenement been the place her heart calls home? She cannot recall, but long enough for her to grow into love for it, to cherish every rusted appliance, every crumbling piece of plasterboard, every – flickering – lightbulb. […] Sabina cannot… picture their faces, but knows that should they wake to see the state of the place… their anger would be blistering. […] What floor was her flat on again? Surely, it can’t be this high. […] Limping and desperate, she turns to see her furniture in flames, the bookshelves full of memories, that she can’t quite place [STATIC RISES] but knows are precious to her, curl and float away as ash. The photos on the wall of her family whose faces seem indistinct but she knows that she loves, begin to blacken, as the glass pops out of the frame.”

(MAG170) MARTIN: … It’s sort of weird, isn’t it? [CREAKING] A smell can trigger memory so… powerfully. Like this one; it, it–it makes me think of… [INHALE] Hm. [INHALE] Hm. I, I don’t know. Is it a person? A place? No, no; people, people don’t smell like that. Besides, I’m all alone. … I’m, I’m all alone. [CREAKING] Why, why am I alone? I, I shouldn’t be alone! There should be people! It’s such a, such a big house, my house, there mu–, there must be other people! People who care. Unless…

(MAG174) ARCHIVIST: “When it had first covered her home, bathing the street beyond her window in unexpected shade, she had thought it an eclipse. There wasn’t supposed to be one then, she is… sure of that – although if pressed, she could not have told you what day it is today. Before the shadow fell, she is sure that the sun was shining brightly – although, if pressed, she could not have pictured it. And the humid heat of a lingering summer had left the world sleepy, and unprepared – although, if pressed, she remembers the heat, but not the season. […] Mehreen cannot quite make out their faces as she bundles them into the car, old and shuddering as it coughs into life. Does she remember having a child? A spouse? Does she remember her mother having such a cruel sneer? It doesn’t matter. They are here now, and she has to save them.”

(MAG178) ARCHIVIST: “It’s faded now. He remembers aches and worries and, sometimes, something that might have been joy…! But it’s far away now, like something seen projected on a distant wall.

I still wonder if that situation will evolve, by MAG200… Jon said that the Fears would stay as long as there are people to fear them, and the current status quo is that victims are imprisoned in a loop – their fears made manifest, torturing them in turn, leading to more fear, their perceptions and memories biased to prevent them from feeling something else. We’ve seen how anchors could work as a point of focus to get out of their grasp; it’s not possible with how the world is shaped now, but if the victims could remember something else than their fears, maybe…?

- Oh! I hadn’t noticed/wondered if there was an echo of Beholding in the domain itself in a while, but:

(MAG178) ARCHIVIST: “Even if he had the will to, Tyler could not have struggled: the movements of the things scrutinising him are as gently unstoppable as a piston.”

… that’s a big Eye mood.

- Same as in the Slaughter domain, it seems to be a loop of fear:

(MAG163) ARCHIVIST: “There is a rumbling in the earth around him, as a tank speeds along its unstoppable path, and Charlie is immediately pulled under its tread. He has a moment of shocked horror, before being reduced to a smear in the mud. […] Next to his bleeding corpse, Charlie wakes from what passes for sleep in this place. A sergeant is yelling at him, screaming for him to take his gun and get into the waiting transport.”

(MAG172) ARCHIVIST: “The tragedy of Francis. A comic puppet show, in all acts. Act 48067”. […] And so it will be until the curtain descends at last, and THE SPIDER resets the scene, its belly already beginning to swell once again with replacements for the creatures it so gorily birthed. AUDIENCE (BACKGROUND): [LAUGHS] Pause, for laughter. AUDIENCE (BACKGROUND): [LOUD CLAPS] And so the curtains descends.” AUDIENCE (BACKGROUND): [LOUD CLAPS AND CHEERING] [STATIC RISES] ARCHIVIST: “The tragedy of Francis. A comic puppet show in all acts. Act 48068.”

(MAG178) ARCHIVIST: “The last thing he sees before returning to the processing line… is everything going into the garbage. There wasn’t a single, suitable cut.”

(And I’m still dubious of Oliver’s claim that The End’s domain was better than the others and would deliver it for real! Though Jon mentioned dream-logic as the rule at work, to explain why Daisy wouldn’t be coming back if killed… so maybe enough belief in The End as an absolute ending makes it real in that world. Mm…)

- Back to Martin worrying over victims’ feelings, and being vocal about it!

(MAG163) MARTIN: … They’re not… real? [VOICES SHOUTING IN THE DISTANCE] ARCHIVIST: [MIRTHLESS CHUCKLING] No…! They’re real; they were… normal people before the– … Before me. But now they’re here, meat for the grinder. I just mean there’s no point… talking to them. MARTIN: Don’t be a prick, Jon. Hey! I’m, I’m sorry about him. He’s–he’s going through a lot – well… we all are, I suppose, but well… “Hi”, I guess. [SILENCE] Hello? ARCHIVIST: They won’t hear you, Martin, they’re all… too busy waiting to die. MARTIN: Jon…

(MAG178) MARTIN: [HUSHED] Oh, would you both just keep it down, please? ARCHIVIST: They’re not aware of us, Martin, I keep telling you. MARTIN: Yeah, I know, but it’s not okay to talk as though they’re not there. They’re still people. […] [MARTIN JOSTLES A BODY] MARTIN: Excuse me. ARCHIVIST: [EXASPERATED] Martin, they can’t hear you. MARTIN: [SHARP] I know, Jon, that’s not the point. ARCHIVIST: … All right…!

He hadn’t been vocal about it in a long time! (And he had felt a bit disconnected about it, to me, with the worms and the carousels.)

In comparison, I do understand Jon’s pragmatism in the uselessness of trying to Know who is real and not:

(MAG178) MARTIN: Wait–wait–wait, so… so it just… makes the rest of them up? ARCHIVIST: Er, maybe one in a hundred or so are actually real? The rest are there to make those people’s fears more acute. MARTIN: … That’s… Ugh, that’s somehow more disturbing. BASIRA: … How do you tell which is which? ARCHIVIST: I mean, you could ask me, I suppose. B–but I don’t… really see the point. Would it help you to know whose suffering is real and… whose is just a… grim reflection? [SILENCE] BASIRA: No. ARCHIVIST: Well, there you go then.

… but still, a bit aouch about that logic – it’s true that people in the domains are not aware of them, so taking them into account doesn’t change anything, but it still means ignoring real people. (I wonder if they will end up in a domain where victims are aware and conscious and a potential threat to them, if it’s the point of the domain?)

- I’m glad, however, that Jon was trying to make them avoid the avatar of the place, because it was contrasting a lot with Jude:

(MAG169) MARTIN: That turn…! You, you took a hard turn after the roots back there. I knew that was a thing! Why are we here? ARCHIVIST: [SIGH] It’s just… [INHALE] When you said… [SIGH] MARTIN: Jon, why have you taken us here? ARCHIVIST: Jude Perry. … This is where Jude Perry rules.

(MAG178) BASIRA: So who’s in charge, here? ARCHIVIST: Not anyone you’re familiar with. We won’t be meeting them. MARTIN: You’re not going to… y’know? [MARTIN VOCALISES AN EXPLOSION] ARCHIVIST: No. Even if I wanted to, he’s in the, uh… Main Processing Room, and believe me when I say that’s… not somewhere you want to be. MARTIN: … Yeah. I guess.

(And even with Oliver: Jon had made the decision that he wouldn’t pursue Oliver, but it had been shown as a rare act of mercy in the face of Oliver’s actions. Here, it really sounded like he wanted to spare Martin and Basira more suffering, didn’t want to put them in an upsetting situation.)

… a bit worried that Martin still hasn’t let it sink in that Jon didn’t want to go Kill Bill anymore because he felt that it was detrimental to himself, but to be fair, Martin sounded like he had asked just to clear it up and wasn’t pressuring, just checking.

- OHOHOHOH about Martin’s frustration feeling extremely… meta (it’s something an audience would say):

(MAG178) MARTIN: [INHALE, EXPLOSIVE EXHALE] God, I hate all of these… loose ends…! ARCHIVIST: I’m sorry. MARTIN: It’s, it’s fine. [INHALE] We’ll just have to tie them all up in one go!

Both the thread imagery and the storytelling aspect are screaming a bit “Web?” (THIS IS HOW WEB!MARTIN CAN STILL W–)

- I’m still a puddle on the floor about the fact that:

(MAG178) MARTIN: … Yeah. I guess. [INHALE, EXPLOSIVE EXHALE] God, I hate all of these… loose ends…! ARCHIVIST: I’m sorry. MARTIN: It’s, it’s fine. [INHALE] We’ll just have to tie them all up in one go! ARCHIVIST: Hm? MARTIN: [SIGH] Around Elias’s neck. ARCHIVIST: … Ah.

MartinElias. The MartinElias in season 5 is so delightful *snif*. Strangulation? That’s such an intimate way of killing… It’s what Will described as what his preferred method for killing Hannibal would be… My MartinElias rights…

I love how. Martin. Just brings up Elias so much this season.

(MAG161) MARTIN: Elias won, and there were some tapes he’d kept for himself, and he wanted to gloat. So, he sent them! ARCHIVIST: He’s not… MARTIN: I–I don’t see– ARCHIVIST: … “Elias”. MARTIN: Jonah, then. I don’t know, I find it hard to think of him as… I don’t really like to think of him!

(MAG162) MARTIN: Do you think it’ll do anything? Confronting Elias?

(MAG164) MARTIN: What about Elias?

(MAG170) MARTIN: I mean, the interview was weird, I… I don’t really remember the man who talked to me. Just his eyes. They stared at me; th–through me, and… and, I–I knew that he knew what I’d done. God, I…! I was so scared, but… but then he smiled and shook my hand…! What was his name? [CREAKING] He said I “had the job”…! [CHUCKLE] That he “looked forward to working with me”! … I was still so scared I could barely move my arm…! I was so terrified I’d let him down…!

(MAG174) MARTIN: … Hang on, you’re still down to kill Elias, right? Uh, oh, Jonah, whatever.

(MAG177) BASIRA: … So what’s your plan? MARTIN: Long-term? Elias. He’s up in that that… “Panopticon” tower thing.

(MAG178) MARTIN: God, I hate all of these… loose ends…! ARCHIVIST: I’m sorry. MARTIN: It’s, it’s fine. [INHALE] We’ll just have to tie them all up in one go! ARCHIVIST: Hm? MARTIN: [SIGH] Around Elias’s neck.

* “I don’t really like to think of him!” said Martin Blackwood, before proceeding to mention Elias at every turn. (And still “Elias”! Jon and Martin seem to have completely given up on calling him “Jonah”. He’s still “Elias” for them, even though they know who he truly is.)

* Oh, Martin… He really seems to have decided that “killing Elias/getting revenge on Elias” was their goal, and that it would do anything good. Jon has already proven that killing avatars in domains didn’t free victims, didn’t improve their situations; that the domains just… kept going, even “unsupervised”. Even if Jonah is still around in some shape or form (in his old decaying body, in “Elias Bouchard”’s body, merged with the Panopticon, anything), and even if he is the ruler of the Panopticon (not a given, since Jon said that they were heading towards his own domain: unclear if it was the Archives, the Institute, the Panopticon, or all of them)… killing him would not fix the world. Is Martin absolutely in denial about this? Or does he need a small goal to keep going and process his feelings?

(;; And there is just a huge chance that… Martin is mostly feeling guilty about what happened, about the fact that he had the chance and opportunity to kill Elias but refused to do so, and that it led to Jon getting his last mark with The Lonely (with potential additions of not having checked the package they had received, and having chosen to leave Jon unsupervised while he would read a statement). The episode was about Basira knowing all along what was happening but trying to pretend she didn’t, and how this prevented her from reaching her goal (Daisy); I wonder if Martin will soon have to undergo the same process, to allow him and Jon to reach the Panopticon…)

- About Jon’s need for a stop:

(MAG178) ARCHIVIST: Left. [INHALE] Just up ahead. [STATIC FADES] Although, uh… Hum… Actually, you might want to head through that door and… wait. BASIRA: Again? Already? ARCHIVIST: There’s a lot of fear in this place. […] MARTIN: New plan. We wait in the corridor; you go in the spike cupboard and tell your story to all the… hooks and stuff.

Once again, it’s definitely presented as Jon having to unload an excess, and I’m really interested in Martin’s lexicon. In MAG177, he called it a “statement”, and this time, presented it as “tell[ing] [his] story to all the hooks and stuff”: “story” had been how Fanshawe had described Albrecht von Closen pouring out his horrors, and Martin’s formulation took into consideration the need for an audience. Jon did introduce the tape recorder as a necessary audience in MAG163 while he was giving the domain’s statement (and he had mentioned how “pouring out” into them had helped him to understand what the cabin was doing, in MAG162), but really, I’m struck with how similar Jon sounds to how Fanshawe had described Albrecht?

(And what is happening with the tape recorder, what is Jon creating through them…)

- Uh! So it seems like Basira got Enough already, by listening to Jon last time. Not keen to reiterate the experience, uh. (Well: it’s mostly Jon who, first and foremost, took it as a given that Basira wouldn’t be listening either.)

- I’m fond of the fact that:

(MAG178) [DOOR OPENS AND METALLIC JANGLING IS HEARD] MARTIN: [EMPHATICALLY] Nope! BASIRA: … What the hell sort of tools are those? ARCHIVIST: “Flesh” factory, remember?

The tools weren’t described. Some things better left to imagination, nondescript but evoked through characters’ reactions, uh?

- ;w; Is Jon still worried about Martin potentially losing himself in a domain? He really almost lost Martin in the Lonely house, and Martin had wandered away too deep in the Web one:

(MAG170) ARCHIVIST: Oh, Martin! Thank god, I, I was… I–I thought you were behind me. [FABRIC RUSTLES] MARTIN: I thought you’d left me behind…! Gone on without me.

(MAG172) MARTIN: No, I… Not for most of it. I just thought I heard… something. Whatever. I went exploring, all right? I don’t know why; I shouldn’t have. ARCHIVIST: No, you–you shouldn’t have!

(MAG178) MARTIN: New plan. We wait in the corridor; you go in the spike cupboard and tell your story to all the… hooks and stuff. ARCHIVIST: … Fine. Just don’t wander off.

… I really wonder if, at some point, Jon will try to come back to Martin&Basira, and they’ll be just… gone, because of Helen, Annabelle, or the domain’s work. (… It might be how Daisy could appear? While Jon is focusing on a statement and unaware that she reached them first?)

- Martin has his Limits and will be vocal about it:

(MAG178) MARTIN: [EMPHATICALLY] Nope! […] New plan. We wait in the corridor; you go in the spike cupboard and tell your story to all the… hooks and stuff.

… but mostly, I’m snickering so hard, because. It was.

It was.

It was Martin refusing to go into the closet. I’ve been snickering about it for a week, alright.

- … I really wonder what Martin was talking about with Basira:

(MAG178) MARTIN: –I know, I know you find it hard whe– … Done already? ARCHIVIST: Yes. [INHALE] Talking about me? BASIRA: … I assume that’s a rhetorical question. ARCHIVIST: I am trying to keep my powers to myself. BASIRA: Sure! MARTIN: I was just… giving Basira some advice. ARCHIVIST: [GOOD-NATURED] Avatars are from Mars and humans are from Venus, that sort of thing? MARTIN: [TINY CHUCKLE] I mean… yeah? Sort of? ARCHIVIST: [BRIEF CHUCKLE] MARTIN: Well, w–we were pretty much done anyway.

… Jon’s shitty sense of humour… (Was that an allusion to the feared vs. the fearful, as Helen made the distinction? To the Jon/Martin relationship as avatar/human? x’))

Was Martin’s “advice” about how to not take what Jon was saying too badly, how to try to talk with him constructively since she and Jon had grown sour towards each other in season 4? … Or does Martin have a plan in the making, that requires Jon to not know about it? Because this episode and the previous one made a point to remind us…

(MAG177) BASIRA: … What’s it like? Being with someone who can see the inside of your head? MARTIN: Hm? Oh! Oh no, he doesn’t. I told him not to, and so he tries to… look away? BASIRA: And you trust him to do that. MARTIN: [DECISIVE] Yes. I do.

… that Jon doesn’t know what is happening in Martin’s head since Martin asked him not to “know” about him…

(I’m glaaad that Martin and Basira are talking outside of Jon!!)

- I like the contrast between Jon absolutely knowing what he was doing, where he was leading Basira and Martin… and the fact that Basira didn’t know about it.

(MAG178) ARCHIVIST: Next one’s through here. BASIRA: Next one? ARCHIVIST: Her latest victim. [DOOR IS WRENCHED OPEN WITH A METALLIC CREAK] MARTIN: [REELS] Oh… [SOUNDS OF FLIES BUZZING]

Not exceptionally great from Jon, but typical from season 5 – it just highlights how much Jon knows how the world operate, what is around them, is indeed almost completely omniscient… and forgets how others aren’t.

- I really, really love how Daisy’s victims have been introduced for these past two episodes:

(MAG177) ARCHIVIST: We’re here. [DOOR CREAKS] MARTIN: … Oh! Jesus… [BAG JOSTLING] ARCHIVIST: Yes. Horrible way to go…! BASIRA: You’re sure this is Daisy’s handiwork? ARCHIVIST: Positive. […] I could tell you. BASIRA: [EXHALE] Don’t bother. I know who he is. MARTIN: What? BASIRA: [SIGH] Noah Thomson. That… nasty piece of work. Crossed him a few times when we weren’t doing sectioned work. Last I heard, he’d dodged a GBH charge Daisy brought him in on. Blinded a guy during a robbery. I guess she didn’t forget. MARTIN: Wait. Wait, so… so, she’s hunting down criminals? People who she… thinks got away with stuff? BASIRA: … Sure. ARCHIVIST: Really? As simple as that? BASIRA: What’s your point? ARCHIVIST: What, you think he ended up in Wonderland House at random? We’re just going to ignore it, and write him off as a “nasty piece of work”? BASIRA: We don’t have time for this. ARCHIVIST: Then we should make time. You want to hear how he ended up blinding that man? Because it wasn’t a robbery. He was running away from Daisy, lashing out in a panic. The court believed it. But you believed her…

(MAG178) ARCHIVIST: Recognise her… BASIRA: … No… I don’t think I do. ARCHIVIST: That wasn’t a question. It was an instruction, we can’t… move on until you do. MARTIN: Jon, what are you getting at? ARCHIVIST: This isn’t just a journey through spaces. BASIRA: … Fine, I recognise her. I don’t know her name, though. [STATIC RISES] ARCHIVIST: Isabelle Moran. Shoplifter, drug addict. [STATIC FADES] Daisy was certain she was dealing as well, derailed her recovery twice.

Jon asking Basira to “recognise” the victims is such a significant move? It’s about giving them some dignity back: we’re given their names and last names (which… is more than what we’re getting in the domains’ statements; it feels more real); we’re being introduced to who they were through their identity, their history, what was done to them, the wrongs done to them… both as humans actions (the hurt Daisy caused as a police officer, although influenced by The Hunt) and as monstrous actions (Daisy butchered them as a beast). It feels very striking that most of the violence inflicted upon them is… not especially the fact that they’ve been murdered in these domains (Jon implied they should respawn?), but really, about what was done to them before, and how fundamentally Daisy’s behaviour had hurt them.

I really like how Jon is pushing Basira to acknowledge all of this, to process Daisy’s responsibility (and indirectly, hers, as someone who let it happen)? There is something very empathetic, very powerful in the fact that what needs to be done is about seeing the harm, understanding how it happened, before being able to proceed to the next step and take actions?

(- Basira, serial Sayer Of Fuck And Swears:

(MAG143) BASIRA: [SIGH] So, what, this was another waste of time? What, no Church, no Dark Sun? … I’m gonna kill that son of a bitch…!

(MAG148) BASIRA: You sent us to the North fucking Pole for no goddamn reason. ELIAS: A, a–hem… miscalculation.

(MAG177) ARCHIVIST: [DEEP EXHALATION] … Satisfied? BASIRA: Ff… Fuck.

(MAG178) BASIRA: Don’t give me that patronising, ominous-oracle bullshit, Jon. I’m not an idiot…! […] Of course I fucking care!

Now she’s on equal ground with Jon!)

- Basira broke my heart into tiny pieces this episode, because all her prickly behaviours were bad, as she was put in that uncomfortable situation and trying to flee (while Jon relentlessly pushed her to see)… and it felt so human in its own way?

(MAG155) BASIRA: I’m trying to convince her to go after them. To, er… “Hunt” them. ARCHIVIST: Why? BASIRA: Because I’m not going to lose her. ARCHIVIST: She goes Hunting again, you might anyway. BASIRA: And if she doesn’t, she might die. ARCHIVIST: Something you’re fine with in certain other cases. And something she’s made peace with. BASIRA: Because of the guilt she feels over the stuff The Hunt made her do…! It’s not her fault. ARCHIVIST: Earlier, when she was still out of it, I, uh… I “saw” some of the things she was talking about, some of the things she did, while she was police. I’m not convinced I disagree with her assessment. [PAUSE] Do you want me to tell you? BASIRA: No. No, I don’t. ARCHIVIST: … You knew, didn’t you? You knew the sort of things she did, and you let her. BASIRA: No, not exactly. I thought… [PAUSE] It’s not that simple. ARCHIVIST: It never is. But that doesn’t make it okay.[SILENCE] BASIRA: None of us are who we were, Jon.[SILENCE] ARCHIVIST: No. I suppose not. In many ways, it’s simpler now, isn’t it? At least now, our demons have names. BASIRA: Mm.

(MAG178) BASIRA: Fine. Noted. Can we just move on please? ARCHIVIST: I’m afraid not. BASIRA: Why not? ARCHIVIST: We aren’t finished here. BASIRA: Is that a threat? MARTIN: Guys, come on, don’t do this, not here. ARCHIVIST: I told you before, we can’t hunt a monster you refuse to see. BASIRA: Don’t give me that patronising, ominous-oracle bullshit, Jon. I’m not an idiot…! ARCHIVIST: I never said you were. MARTIN: Guys… BASIRA: [ANGRY] Look, I need you to lead the way. I don’t need your advice, and certainly don’t need you stood there judging me! MARTIN: [LOUDLY] Enough, enough! Someone has died! Show some respect. Or don’t you care? BASIRA: [INCENSED] Of course I fucking care! … [QUIETER] That’s the problem. MARTIN: I… I don’t understand. BASIRA: … I just… I don’t need him laying everything out for me like I’m some kind of idiot. I know, all right? Daisy is the only person I could ever rely on and… [GETTING QUIET AND SHAKY] And she… she did things, terrible things, and I… [SIGH] I refused to see it or… said it was my duty, or whatever. I don’t know. MARTIN: Basira…

Basira’s discomfort had to do with her feeling judged, criticised, leading her to get so defensive, all of which we’d already seen a lot in season 4! It’s a defence mechanism! And we finally could see what she was hiding, the feelings she didn’t want others to see! It was long due, and it was such an amazing pay-off!!!

I feel like it’s the equivalent of Melanie in MAG131, and Daisy in MAG132, when they explained themselves to Jon, gave him the keys to understand what was happening in their heads and why they behaved like they did, and, once again, it was such a precious, sensitive moment?

(MAG178) BASIRA: I care, I just… I don’t need to wallow in it. I need to end it. All of it. MARTIN: … We’re here for you. BASIRA: No. She was there for me. ARCHIVIST: … “Cops versus robbers and monsters”… BASIRA: I thought we were doing good. I really did…! I knew there was some bad shit, I knew Daisy was into a lot of it, but… I thought it balanced out. [WEAKLY] … I thought we were good. ARCHIVIST: [SOFTLY] I know how that feels. BASIRA: … I wanted to help people, you know? When I first joined. Protect people. But then I saw what some of those same people were capable of, and… something changed. I wanted to hurt them, the ones that deserved it, and it… it felt good, it felt… righteous. I thought I could feel the line, though, I really did. Eventually, though, it was… too much. [PAUSE] I was going to quit. I couldn’t… take what I saw myself becoming, but… then I got sectioned, and suddenly… suddenly it turned out there were real monsters out there, and… Well, that just made the power feel better. So things kept slipping. But… Daisy was always there for me. MARTIN: All those innocent people… BASIRA: Were they? Innocent? ARCHIVIST: Some. And if not? [INHALE] What crime warrants what was done to them? Theft? Violence? Disrespect?

* Honestly, the raw vulnerability, melancholia and sadness? It was my favourite performance from Frank ever.

* I really love how it tied in with what Basira had already said about her relationship to police, that she had never really felt extremely attached to the profession (MAG117: “I don’t want to be here. But by the end, I didn’t want to be police either, so… guess I don’t really know what I do want, which… maybe that’s just as well. My options… they’ve gotten a lot narrower over the last year.”). It’s just such a sad story because, in her case, she hadn’t gone there for the power (unlike Daisy); as she explained, she had good intentions… and the structure in place tends to sour and corrupt, encourages its agents to abuse their power, won’t make them become better persons (will only make them worse), and turns out to be a threat for the vulnerable instead of protecting them. It’s even sadder that Basira thought about quitting shortly before she got sectioned because, with the timeline in mind:

(MAG043) BASIRA: Okay, well, the first time I got hit with a Section 31 was five years ago, August 2011. I’d got my badge the year before that, and was still getting used to some of the more stressful bits of the job.

It happened barely a year after she joined the police. And she was already aware that she was becoming someone she didn’t like, that she was doing terrible things, and was considering quitting because of it…

* The “I wanted to hurt them, the ones that deserved it” reminded me a bit of Melanie explaining her anger in MAG131, and I’m sad in retrospect about how… Basira and Melanie could have understood each other much better in season 4 if the circumstances had been different…

* I also like how the existence of the supernatural goes hand in hand with Daisy’s side of things: the monsters and the avatars were a pretext for Hunters to unleash their violence. It was never about protecting the population from dangerous people; it was about having easily digestible targets, which allowed them to feel good about being violent (since, after all, they were only eradicating threats, right?). As both Basira and Jon pointed out:

(MAG178) ARCHIVIST: … “Cops versus robbers and monsters”… BASIRA: I thought we were doing good. I really did…! I knew there was some bad shit, I knew Daisy was into a lot of it, but… I thought it balanced out. [WEAKLY] … I thought we were good.

It wasn’t a clear-cut situation – there were monsters out there. But we’ve also seen how so many of these monsters had initially been preyed upon by the entities, had initially been trying to survive, and how the line about their “badness”… wasn’t as easy to establish as characters would have liked. (And, in Daisy’s case: indeed, it wasn’t worth it anyway to… push struggling people deeper into misery, just because she had power over them, and Daisy, in season 4, was the first to remind people of it.)

* T__T I really love the… complexity of Basira’s situation? How would you react if the person there for you, representing a fixed point (your anchor?), turned out to be doing wrong things? In theory, it feels easy to answer that the good behaviour would be to turn your back on them, or to try to make them improve; and in practice, in Basira’s case, it meant allowing her whole system to collapse, and having to rebuild from there. I’m really fond of how she explained that she wasn’t stupid, that she was still aware of what was happening: that she still chose the pack mentality over a rejection of that system, but that she was already disillusioned with it. Basira had often felt a bit… emptier than the other characters; we only knew of a life-lesson given by her father, and the rest of her life seems to have been tied to the police force for the past few years, before she joined the Institute. It has really felt like Daisy was what brought her stability and peace. And yet: Daisy did awful things, Basira enabled her by trying to think it was for the greater good (MAG091: “But I… I always thought you just killed monsters.”), and Basira wasn’t even able to make the most of her return in season 4, when Daisy wanted to improve, since Basira was stuck on the idea that they needed a strong defence against threats… (And I wonder how much of Basira’s initial rejection of Daisy in season 4 had to do with the fact that… allowing herself to understand and hear the “new Daisy” would mean having to acknowledge that the old one had been bad and wrong; that Basira had allowed her to be monstrous, and that they both shared responsibility in those crimes.)

- Really loved Martin’s attempt, too:

(MAG178) MARTIN: … We’re here for you. BASIRA: No. She was there for me.

Because it said so much, that Martin used a present tense while Basira answered in the past (as if, after Daisy, there couldn’t be anyone else). It also put back in my mind how Basira had tried to be a bit softer on Martin at first, after his mother died (MAG127: “But I didn’t want to push it. He was in a… bad place, what with the attack and his mum and everything, so I didn’t press it.”) but didn’t provide comfort either; and how, even earlier, Basira and Martin had tried to be there for Melanie when they learned what Elias had done to her (MAG110). There’s still a lot of ice, but I’m glad that Martin offered, and that Basira didn’t attack him on it either – she’s mourning (that past tense in “she WAS there for me”…), but not… absolutely rejecting him either.

- In the moments of small understandings, Jon’s was also noteworthy:

(MAG178) BASIRA: I thought we were doing good. I really did��! I knew there was some bad shit, I knew Daisy was into a lot of it, but… I thought it balanced out. [WEAKLY] … I thought we were good. ARCHIVIST: [SOFTLY] I know how that feels.

Since he also had to face the reality that the Archives team hadn’t really been doing “good” either, although he had tried to cling to the idea:

(MAG150) MELANIE: Because this place is evil, Jon! And so… doing this job… ARCHIVE: [LOUD EXHALE] MELANIE: Helping it out… even in small ways, i–is in some way… evil too! Every time we try to use it to do good, it just seems to make everything worse, and… and I will not be a part of that anymore. ARCHIVIST: What about The Unknowing? We, we saved the world! MELANIE: Did we? I… I mean, I–I think it was the right thing to do, but how many people were killed to do it? We, we weren’t even a neutral party; we did it as agents of The Eye, because Elias told us to. ARCHIVIST: An–and then you put him in jail! MELANIE: Martin put him there. And, and–and he’s still doing harm.

(With the additional fact that Jon had indeed saved Melanie and Daisy, but had attacked five people during the season; that The Unknowing would have failed anyway; and that ultimately, a lot of Jon’s “good” actions had also marked him as a preparation to Jonah’s ritual.)

Re: Jon’s situation, it’s the same thing with Basira’s declaration about caring:

(MAG178) MARTIN: [LOUDLY] Enough, enough! Someone has died! Show some respect. Or don’t you care? BASIRA: [INCENSED] Of course I fucking care! … [QUIETER] That’s the problem. MARTIN: I… I don’t understand.

(MAG152) ARCHIVIST: [SIGH] … When does it stop? HELEN: What? ARCHIVIST: The guilt… The misery… All the others I’ve met, they’ve been… cold. Cruel. They’ve enjoyed what they do. When does The Eye… make me monstrous?

It had been Jon’s “problem”, too: how he was conscious and aware of the suffering he caused, and how he had to live with it, wasn’t okay with it. I really like how it feels like, finally, after season 4, Basira is able to participate in a conversation where they’re opening up, talking in good faith, trying to understand each other and… not hurt each other anymore? How they can relate, or just listen?

- I’m back to sobbing about Jon and Daisy’s relationship in season 4 because:

(MAG178) BASIRA: [SHAKY] … You knew her. She was trying to be better…! ARCHIVIST: She was. But she never asked me to forgive her. BASIRA: Forgive her? ARCHIVIST: … I’ve been scared, terrified for my life so many times these last few years, but I’ve never, not once, felt so horribly, abjectly powerless as when she… took me into that forest to kill me. I’ll never forget it. MARTIN: … You never said. ARCHIVIST: It’s not easy to talk about. MARTIN: Oh, Jon… BASIRA: … And would you have? Forgiven her? ARCHIVIST: No… But she never asked me. She knew she had no right. [SILENCE]

… It’s still “aouch”, but not surprising: Daisy had been terrifying in MAG091, absolutely hammering in that Jon’s life was in her hands, that she had decided who and what he was and what he deserved. It had been a very hard scene, cruel and violent, a demonstration of what Daisy could do (and had done)… and I really don’t feel like it negates the moments she and Jon shared in season 4, it mostly just casts another dimension on it? How Jon was a bit tense and awkward around her, and slowly mellowed down:

(MAG133) DAISY: You sure? ARCHIVIST: No, uh, it’s, hum. It’s fine. DAISY: It’s just… Basira’s busy. ARCHIVIST: I–I understand. Ho–honestly, er, I’d actually appreciate your insights, er, for this one, just… You know, keep quiet during the statement and that. DAISY: Sure. I, I can do quiet. ARCHIVIST: Right. Er, oh, do you want a chair? DAISY: No. ARCHIVIST: Oh. Okay.

(MAG136) MELANIE: W–well, I’ve kind of got to… uhm. I’ve got somewhere to be. Do you mind if, if… she hangs around, with… ARCHIVIST: Er… I suppose… Not at all. She’s very welcome. […] Are you alright? DAISY: Asked me that already. ARCHIVIST: Right. Sorry. DAISY: I didn’t ask her. To do that. ARCHIVIST: I–it–it’s fine. […] DAISY: Get over yourself! You’re always talking about choices – we all made ours. Now I’m making the choice… to get some drinks in. Coming? ARCHIVIST: I d–… I… [SIGH] … yeah? Okay. DAISY: Melanie’s out, but I’ll go get Basira. ARCHIVIST: Is she… W–will she want to join us? DAISY: If she doesn’t, I’ll rip her throat out. ARCHIVIST: Uh… DAISY: It’s a joke, Jon. ARCHIVIST: … oh. Hahah…! Yes… Uh, I–I’ll get my coat.

(MAG139) ARCHIVIST: The others are doing… better, I think. Basira’s busy doing research for something secretive, unsurprisingly. But she seems to be adjusting to, uh… the new Daisy. I actually like Daisy now, which is a… really weird feeling.

(MAG153) ARCHIVIST: Are you alright? DAISY: [BREATHLESS] Don’t touch me. ARCHIVIST: Christ, he was right, I, I didn’t… When did you get so thin? DAISY: I’m not, it’s fine. ARCHIVIST: … It’s The Hunt, isn’t it? Without it– DAISY: I’m fine. Just haven’t been hungry. I’m strong enough. ARCHIVIST: Clearly. […] Even so, if it’s having this much of an effect on you– DAISY: I’m not going back. I can’t let it in again. ARCHIVIST: But it– … What if it kills you? DAISY: [CHORTLE] Always said I was dedicated to justice…! ARCHIVIST: Daisy! It’s not… You can’t think like that. DAISY: Jon. Do you have any idea how much damage you can do if you’re a police officer who wants to hurt people? How much the system will protect you? ARCHIVIST: [SHARP INHALE] DAISY: I managed to keep most of it from Basira, but… ARCHIVIST: That wasn’t you, that was The Hunt! DAISY: … [SIGH] We were the same. [SILENCE] ARCHIVIST: … You’d never known anything different. [SILENCE] DAISY: Because I never wanted to. All that time trapped was good for one thing: thinking. And I did a lot of it. I’ve made my choice.

I feel like… there is a form of deep respect from Jon, when he explained how Daisy didn’t ask for forgiveness – because it proved, in a way, that Daisy was very aware that the harm she had done was too huge to be forgiven, and that she couldn’t ask that from him (and that it might be a reason why Jon accepted to get closer with her in the first place: because she wasn’t lying when she said that she now understood how terrible she had been). We’ve seen, however, how Daisy was quick to apologise:

(MAG132) DAISY: [CRIES OF PAIN] I’m, I’m sorry… I’m sorry Jon… I’m sorry…

(MAG142) MARTIN: I know. [PAUSE] Not nice being interrogated, is it? DAISY: I… [EXHALE] Oh. MARTIN: Yeah. [SILENCE] DAISY: [INHALE] I’m sorry, Martin. MARTIN: It’s alright. Wasn’t you. [INHALE] Not really. DAISY: No, it was. I hate… a lot of what I did back then; doesn’t mean I’m not… responsible for it, doesn’t mean it… wasn’t me.

But indeed: never asked to be forgiven. And it might strike a very personal chord for Jon, since… he knows, first-hand, how it is to not be forgiven:

(MAG119) TIM: Jon, I don’t know if you can hear me, but if you can… ARCHIVIST: [FAINTLY AND FAR] Tim…? TIM: I don’t forgive you. But thank you for this.

(If I remember correctly, the only time Jon had asked to be forgiven had been to the assistants through the tape recorder, when threatened by the Not!Them and panicking. But, same as Daisy: afterwards, he said “sorry”, and didn’t ask for it.)

- There is another thing, not mentioned but hard to forget if we’re talking about Daisy’s victims, including Jon: what about Jon’s? What about the statement-givers who were plagued by the nightmares, and specifically the ones he attacked knowing the harm that he would do to them? We’re exploring the harm Daisy caused to her victims, I wonder if we’re heading towards what Jon did to these people, too… (Are they waiting at the Panopstitute or the Archives, since it’s “Jon’s domain”? He used to terrorise them through the nightmare zoo, and had claimed them for Beholding: but in this new world, he doesn’t sleep anymore. It would feel logical that… they’re still trapped and victimised by The Eye as of now.)

- Early season, Jon had really felt like Virgil leading Dante (Martin) through the circles of Hell, and there is a bit of that with Basira too! Except that it’s not a didactic exploration of divine retribution/punishment, but… precisely, it is about how the “punishments” were the problems, how nobody was inherently unsalvable (or even, how everyone was plain pushed towards misery because of a biased repressive system)? There is still that idea of guiding Basira, both physically and mentally, through a terrible and hard journey, to make her able to see the reality of the world and reach her goal… (and that makes Daisy “Beatrice”. Who is… already dead TT__TT)

- From MAG163 to MAG177 (excluding MAG167, which was Jon&Martin taking a break and Jon giving the statements about the Archives during Gertrude’s tenure), we crossed through all the Fears present in Jonah’s invocation, minus Beholding itself and plus Extinction. MAG178’s was explicitly labelled as The Flesh; although it was another aspect from Jared’s garden, it’s still a “repeat”. I would infer that, either Jon&Martin’s journey has been set aside and put on hold right now (since they’re focusing on finding Daisy), and they now will be able to reach the Panopticon as soon as they’re done with this current quest… either no, going through one domain of each Fear wasn’t the point of Jon&Martin’s journey to reach the Panopticon, and it is something else. Since they left the cabin, Jon had mentioned multiple times that their journey wasn’t a purely physical one, that there was a meaning underneath it:

(MAG163) ARCHIVIST: Geography doesn’t work anymore. Space… doesn’t work. MARTIN: … All right. So what does that mean? ARCHIVIST: It means the journey will be the journey, regardless of how we choose to make it. […] You see that tower, way off in the distance? MARTIN: Yeah. [PAUSE] [SIGH] It’s watching us, isn’t it? [SIGH] ARCHIVIST: The Panopticon and the Institute. Merged into something entirely new. MARTIN: Wha–, what? No, th–there’s, there’s no way we could see it from here. We, we must still be a hundred miles from the border, never mind London! ARCHIVIST: You could see that tower from anywhere on Earth. And it can see you. And if you walk towards it, eventually you’ll get there. But you have to go through everything in-between.

(MAG164) MARTIN: How much further do we still need to go? [STATIC INCREASES] ARCHIVIST: A long way. Through many dark and awful places… […] MARTIN: Are we safe, traveling like this? ARCHIVIST: Yes… Yes, sort of, we’re… I don’t know how to phrase it, we’re… something between a pilgrim and a moth. We can walk through these little worlds of terror, watching them; separate, and untouched.

(MAG165) MARTIN: But. You said we needed to go through these places. … Is that even going to work here? ARCHIVIST: Uh… [EXHALE] We need to go through them… metaphorically. MARTIN: Mm… ! ARCHIVIST: Psychologically, we need to… “experience” them.

(MAG177) ARCHIVIST: She was here, but the corridors of this place are… Rushing isn’t going to close the distance faster, it’s more about how we choose to move through these domains rather than our speed. BASIRA: What does that mean? MARTIN: I’ve been with him the whole way and I still don’t know. ARCHIVIST: It means we’ll reach her quicker if you stop tearing off, and let me concentrate on finding a proper path through this place. […] BASIRA: [ANGRY] I told you not to look in my head! ARCHIVIST: I didn’t. And I won’t. But you can’t hunt a monster that you refuse to see.

(MAG178) ARCHIVIST: That wasn’t a question. It was an instruction, we can’t… move on until you do. MARTIN: Jon, what are you getting at? ARCHIVIST: This isn’t just a journey through spaces. […] We aren’t finished here. […] I told you before, we can’t hunt a monster you refuse to see.

What is Jon’s and/or Martin’s journey? Basira has to learn to see/acknowledge the monster in order to hunt it; what is the mental process that Jon and/or Martin have to go through in order to be able to reach the Panopticon again? Is it about guilt, about their active responsibility (vs. what wasn’t their fault)? Is it about the line between victims and culprits not being that simple to establish, and them being unequipped to judge? Is it about their own fears?

- It felt like Basira made a lot of progress in this episode. She finally opened up and admitted how turning a blind eye had made her complicit. She implied that she had indeed tried to flee the responsibility of having to kill Daisy:

(MAG178) BASIRA: [QUIET] … I really am going to have to kill her, aren’t I? ARCHIVIST: There’s no way to bring her back. Not any more. At this point, if I tried to take away her fear… it would destroy her anyway. BASIRA: Am I even going to be able to? ARCHIVIST: Yes. BASIRA: And she stays dead? ARCHIVIST: In this case… yes. MARTIN: What about the powers? ARCHIVIST: Dream logic remember? She won’t come back. Trust me. BASIRA: … Does she want me to kill her? ARCHIVIST: She asked you to, didn’t she? BASIRA: No, I mean, right now. Is she suffering? ARCHIVIST: … No. Right now, she’s… She’s happy. MARTIN: [DEJECTED SIGH]

* Before this episode, Basira would probably have been unable to do it. Jon’s certainty contrasts with what he used to say about it:

(MAG164) MARTIN: What’s Basira going to do? [STATIC INCREASES] ARCHIVIST: She… thinks she’s going to kill Daisy. Like she promised. [STATIC DECREASES] But she’s conflicted. MARTIN: And will she? ARCHIVIST: I–I don’t know, th–the future, th–that’s… that’s not something I can see.

So it feels like he, too, thinks that she’s now ready.

* I was wondering about whether or not Jon would be able to do anything to save Daisy with his powers: I was mostly waiting for him to explain whether he could or couldn’t help, I’m fine with this explanation (which makes sense in context). It also strikes me that… he had probably been mourning her for a while during that journey:

(MAG164) MARTIN: And Daisy? [STATIC INCREASES] ARCHIVIST: Bestial. Brutal. [STATIC DECREASES] [INHALE] Carving her way through the domains of other Powers, following the scent of blood. … Oh, Daisy, I’m sorry…

(MAG175) ARCHIVIST: Basira and Daisy. We’re close. MARTIN: Wait, what? Wait, really? B– Th–that’s brilliant! What are we waiting for, let’s go! ARCHIVIST: Uh, y–yeah, i–it’s… It’s not… it’s not going to be easy, things aren’t… good.

The fact that, despite Daisy’s murder attempt and the fact that it deeply traumatised Jon, they were able to form that friendship, feels so fragile and precious at the same time? Jon didn’t want to lose her. He’s not allowing her or letting her die because it feels like a fair punishment or the only way to deal with Daisy; it really feels like… it’s to honour Daisy’s last wish, as a person who wanted to be better and who got caught up by The Hunt.

* I’m a bit more curious about Jon explaining that Daisy would stay dead because of “dream-logic”: is it because of Jon’s own feelings influencing the world (if he feels like she’s dead for real, then she is)? Is it because, as long as Basira goes through that inner journey, killing someone in these circumstances can grant a “permanent” death unlike the domains? Is it because of their connection to The Eye…?

* é_è Basira’s last questions about what Daisy currently wanted broke my heart… and Jon’s answers did, too. It really feels like “Daisy” truly died in MAG158, uh? That what matters is what Daisy wanted while she was still herself, even though the beast she turned into is “happy” in this state. (And it requires a bit of faith: who is the real Daisy, which wish should be respected? The beast happy to hunt or kill? Or the assistant who was sorry about the harm she caused, withering while trying to “listen to the quiet”?

* Martin’s dejected sigh said a lot… Until now, he was mostly optimistic about the possibility of finding their “friends” back, of helping them. I don’t think he had envisioned that… no, Jon couldn’t save Daisy, could only “help” her by helping Basira to respect her last wish. (Martin was mostly withdrawn from that last conversation, and… yeah, it might have been a lot to internalise for him, too. Jon seems to have borne that knowledge for a while; it might even have contributed to his perception that he couldn’t improve the general situation whatsoever? While Martin, who was lacking the keys, had kept hoping that they could… do something good. Killing avatars, saving the children, helping their friends, maybe getting Daisy back. I wonder if the current circumstances are making him more susceptible to reach for Annabelle or answer her call a next time, since she had offered her “help” and Martin has been realising, lately, how powerless they are…)

- This episode was a Lot of processing and of sadness, and that last note…

(MAG178) BASIRA: Killing her won’t undo any of it. But… that’s not the point. ARCHIVIST: No one gets what they deserve. Not in this place. They just get whatever hurts them the most! … Even me.

* Killing Daisy will be hard, and indeed. It won’t even change the harm she caused, won’t change the apocalypse. It won’t even be a matter of “retribution” or “justice”; but I’m glad that Basira is aware of that already, and that “the point” lies elsewhere. In this context, it’s really about respecting Daisy’s choice and what she wanted, to allow her to escape The Hunt one last time – even if it means killing her, and to prevent what she became to cause more harm. It’s about Daisy. (Which requires, to reach her, to go through what she had done: the person she had wronged and whose story had been hidden until now.)

* … I really loved Jon’s sad insight about this world. It is an unfair world, an unfair system, quite often echoing what the old world was: Daisy’s victims were, after all, already crushed and pressured by an unfair society, already pursued by their own fears (MAG177: “it’s the worry that everything is, is awful, and it’s actually… your fault. That, that you made it up […]. What, you think he ended up in Wonderland House at random? We’re just going to ignore it, and write him off as a ‘nasty piece of work’?”; and it’s meaningful, in the same way, that in this episode, Isabelle Moran was found in this factory, where people are pressured and pushed around and ultimately labelled as “useless”).

* I still really wonder what all this means about Jonah. He was initially afraid to die, or to be subjected to a different apocalypse, so is he also a victim of “whatever hurts him the most” in this new world…? (I still really wonder how Jon will behave in front of Elias. We’ve seen, again and again, how labelling someone/something as a “monster” doesn’t cover the whole reality of it: the “criminals” were mostly dragged down by society, the cruel “avatars” had often been preyed upon when they were vulnerable… I can still dig Jonah as TheWorstTM, the selfish asshole who doomed the world for his own benefit; but I also feel like it would be very in synch with this season to… mostly have Jon spitting to his face about how pitiful and afraid he had been, and how fear had motivated his actions way more than he thought?)

* What is “what hurts Basira the most”, then? Is it to have to kill Daisy? To see and acknowledge their past actions? I wonder what will happen to her next: will she be pulled back in into a domain? Will she be spared because of Jon’s presence, or because of her connection to The Eye because she’s still an assistant? (I’m thinking again about the possibility of Jon’s victims being in the Panopticon right now: the assistants were protected from the nightmares once they had signed the contract… but Martin, Basira, Melanie and Georgie had all given their statements to Jon. Would they happen to all be journeying towards his domains in a way, because they belong there because of the statements they gave…?)

* Big question being, of course… what is “what hurts Jon the most”. Is it the guilt of having launched the apocalypse and having to benefit from it despite his disgust (he’s not hungry anymore, he’s aware that it does feel good in a way that he hates)? Is it to have to be a passive voyeur in this new world? Is it to lose his friends, first with Daisy? Is it The Web dancing around Martin? Is it something he knows about their journey or about the Panopticon, and doesn’t want to tell Martin yet…?

- You could really see Basira’s progression through the episode, as she dealt with how Jon was leading the way:

(MAG178) BASIRA: … You’re sure she came through here? ARCHIVIST: Have I steered you wrong so far? BASIRA: I don’t know, do I? We haven’t actually found her yet. ARCHIVIST: We’re getting closer. BASIRA: Great. […] ARCHIVIST: Great. Well, in that case, shall we move on? BASIRA: After you. ARCHIVIST: … Right. […] BASIRA: … Can we move on, now? ARCHIVIST: [INHALE] Yes. I believe we can. This way.

From being distrustful of Jon to… being way more humble about it, and accepting that he knows what he’s doing and that it’s in her interest, too. From being suspicious and defensive, to cautious and strategic, to confiding and relying on him.

- Overall, I’m “!!” because this episode… managed to sell me on Daisy’s death, while I was really dubious about it?

I was pre-emptively a bit disappointed about the possibility of Daisy coming back as a Hunt beast just to get killed, because I felt that it was a bit pointless to make it drag for so long, while she… could have died on her terms in MAG158 instead. But here, where to reach Daisy, in order to fulfil her promise, Basira has to see, process and acknowledge the harm Daisy had caused and that she had herself enabled? It works for me! It finally unlocks Basira’s own development, that I was hoping for; it’s sad as hell; and it’s not portrayed as Daisy’s punishment or retribution. It’s about both acknowledging the harm and damage Daisy had caused (as the process to be able to catch up to her), and about respecting Daisy as an individual who was capable of growth, exercised it, was aware of the wrong she had done and firmly owned up to it, and didn’t want to return to that life – but was forced to by a power too big and crushing, and circumstances playing against her. It’s not done as an act of hate or revenge, or because Daisy’s crimes are too heavy for her to be allowed to live. It’s not a death sentence. It’s both about acknowledging Daisy’s crimes and how she had wrecked people’s lives, how she had been allowed and enabled to unleash her violence and unfairness, how Basira had willingly decided to ignore most of Daisy’s actions, and it’s because Daisy didn’t want to be a “sadistic predator” again, and asked Basira to stop her, respecting the fact that Daisy had improved as a person (to the point that she knew she couldn’t ask for “forgiveness”). So, I’m relieved about how things are heading: it’s sad as fuck, I’m going to be miserable, but so far, things sound incredibly satisfying, narratively?

(We know that The Eye might influence Jon to only see the worse or more painful side of things, so I’m not entirely ruling out that there could be a surprise, Martin doing something, or Annabelle, or Georgie&Melanie appearing with a solution? But I doubt it: I’m satisfied with the explanations given, how we’re prepared to say goodbye to Daisy, how respectful it is both of her victims and of her awareness of the harm she had caused, leading to her decision to be better… So, really, I’m fine. Crying in advance but FINE.)

MAG179’s title screams “Basira!” (but could technically apply to Annabelle or Helen, or Jon himself…). I’m not sure Daisy is getting killed this episode, but we might get a whiff of her? Or a cliff-hanger about her towards the end?

Domain-wise, mm… Could be a pause like MAG167, could be Hunt or Slaughter, Corruption? (It does feel like an anti-Lonely title, mostly!)

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