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phoenixrisesoncemore · 4 years

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But Whose Deontology?

The Untamed: three-fifths mark

OK, @thearrogantemu I finally had a chance to look at a non-work screen for long enough to watch some more Untamed; through episode 30 now! Oh boy. Spoilers for anyone who isn’t this far yet below the cut:

I feel like this show didn’t exactly *hide* that it was interested in poking holes in everyone’s moral system, but it did spend a lot of time... not distracting us, really, but using the other assorted comical, tender, and otherwise emotional aspects of the show to deepen our investment in these characters’ lives and choices before it started really making its moves. I suspect it wouldn’t have had the same effect otherwise.

The long run up is a pacing I’m quite the fan of from almost three decades of JRPGs that start out as light-hearted adventures about teenage angst only to turn into philosophical ruminations on God and the nature of the universe (see my favorite example: Xenogears). Even The Lord of the Rings does something... similar, albeit not intentionally on the part of the author. It’s actually one of my favorite “tropes” in storytelling: the tone shift—the moment the light-hearted and comfortingly simple reveals itself to be something much wider and deeper and which will leave you unsettled in its wake.(1)

I’m really quite impressed with Xiao Zhan and Wang Yibo. Xiao Zhan manages to believably play the process of aging from arrogant and ornery but innocent and lovable “student” in Cloud Recesses, to the (still arrogant and ornery but lovable) rebellious “hero” during the Wen indoctrination, to the (still arrogant but lovable) young man forced to grow up too fast when his adoptive parents are killed, to the Master of Demonic Cultivation and head of The World’s Most Wholesome Farming Co-op (why cultivate only demons when you can cultivate turnips, too!?).(2) And he manages to play it all as believably the same character, always deeply expressive but also somehow... authentic... even when he is putting on a show: his play-acted irresponsible argumentativeness with Wen Qing; his self-infantilization whenever he wants Yanli to mother him. The latter would be laughable if we were to take it as entirely straight-faced—he knows he is playing childish, and he knows that she knows, even if he does legitimately want to be mothered. Jiang Cheng on the other hand seems to never handle the reality of Wei Wuxian as well as Wei Wuxian handles the reality of Jiang Cheng...

I understand there was some criticism of Yibo’s perceived lack of expressiveness when the show first came out, but I think he’s doing a fantastic job portraying a deeply stoic character whose emotional turmoil is buried under mountains of learned and self-enforced composure. It’s not like he’s missing beats; he’s responding, it’s just subtle. He’s responsible for two of my favorite moments so far: when he first smiles ever so slightly when he sees the lantern Wuxian has made him with the rabbit drawing(3) and the scene of him kneeling in the snow as punishment. I don’t know if it’s the lighting or the fact that it’s one of the few times he’s not carrying tension in his eyebrows, but he looks SO YOUNG in that shot. Honestly, he looks more AT PEACE in that shot than I think he does at almost any other time in the show so far. It feels to me like, in that moment, he has no regrets either about what he did nor about the fact that he should have to atone for it. Like he has internalized some sense that both things are right and can exist in tension. The weird effect of this growth next to Wei Wuxian’s feels like watching one of the two grow older (Wuxian) while the other grows younger (Wangji).

Now, I’m a sucker for every last story where two highly disparate-seeming people move from from some variation of dislike (either on the part of one or both) to friendship to, sometimes, something more (no, no BL here, none at all *looks the other way*). Certainly Wei Wuxian and Lan Wangji have very different personalities. Wei Wuxian has little regard for rules, authority, tradition, taboos, or social etiquette: he uses Lan Wangji’s ming(4) almost as soon as he meets him! The way he interacts with objects and spaces (and personal space!) shows his lack of reverence/respect for the people and things others expect him to have reverence for. He has no problem questioning what everyone else seems to see as obvious up to the point of outright suggesting the use of dark magic. Because...well, why not?? Because “they said so?”

It’s not that he doesn’t KNOW the rules. Another of my absolute favorite moments is during the Wen indoctrination when Wei Wuxian starts reciting not the Wen clan principles, but the Lan clan principles! Sure, he lacks the expected respect for sources of authority be they personal or ideological, but that doesn’t mean he doesn’t KNOW them. He’s obviously naturally talented, gifted, a fast learner, curious, but also—and crucially—he has a very strong moral compass! He does not tolerate bullies, especially when they turn their attention to the vulnerable, like Wen Chao.(5) Yanli notes that their father always favors those with moral integrity and who does he favor? Wei Wuxian.

And this is where he and Lan Wangji are more alike than Wangji initially thinks, and why I love that moment, just after they release the lanterns, when you see, just for a second, the surprise on his face at the content of Wei Wuxian’s prayer: that he always be able to “stand with justice and live with no regrets.” It is, I imagine, the moment when it really hits Wangji that this rebel he finds himself irrationally attracted to truly is *good* despite the fact that he shows no outward signs of respecting the same sources of moral authority Wangji does.

So what is the main difference? Where the rules come from. Who makes the rules? Both of them are pretty sure they know.

Lan Wangji gets his moment to present his source just after their rooftop duel when he catches Wei Wuxian drinking: the Lan Clan principles chiseled right into stone. All 3000 of them. Interestingly, even though Wei Wuxian can and does memorize the code and seems perfectly happy with the notion of moral principles in general, I’ll wager a guess that he is confused by the very idea that a moral code would be so strict and unchanging and inflexible that it could be chiseled into stone *in the first place* or that it would *need to be memorized*. Surely you’d just...”know?” Besides, morality is too contextual to treat this way surely?

As a CLH (Confirmed Lifelong Heretic) my sympathies admittedly lie more with Wei Wuxian than Lan Wangji. It’s not that traditional codes of ethics and conduct are bad things. These are the things that provide stability across entire cultures and peoples. If they’re written in stone, at least that means they’re something everyone has a greater chance of pointing to and agreeing on.(7) And just as Lan Wangji has to learn that there are moral codes that aren’t written in stone and that individual minds can have very clear senses of right and wrong outside of group structures, Wei Wuxian has to learn to temper his arrogance—that his actions, for however right he *thinks* they are, can and do have consequences he would not intend for those he loves, as when he stops himself from calling to Wangji during the hunt. I have a feeling he’s going to be learning more...

Then there’s that whole conversation from ep. 29 as Lan Wangji prepares to leave the burial mounds which is just full of whammies (set, naturally, against the exceedingly domestic reality of the community as a whole and their exceedingly sweet interactions with a-Yuan). Wei Wuxian says: “But let yourself be the judge of what is right and what is wrong, leave others’ comments aside, and care little about gain and loss. What I should do. I know it very well. I believe that I’ll be able to control it well.” And then there’s that moment where you can actually feel Lan Wangji’s heart drop into the pit of his stomach as he presses his eyes closed.

This is the reverse of the moment when Wangji directed Wuxian’s attention to the list of Lan clan principles, so solid they are written in stone.(8)

Then there is that wonderful bit about their respective paths—Lan Wangji’s path vs. Wei Wuxian’s path: the wide avenue vs the one-log bridge. I assume this is a literal translation of the Mandarin. Is it an idiom? If so, I may mangle its meaning terribly and for that I am sorry. But it seems to me that a wide avenue is safe, easy, populated; a single-log bridge is comparatively dangerous and only one person can walk it. Which seems a pretty good metaphor for the differences in whose rule-book each of the leads chooses. Not to mention, with my Western ears, it sounds a WHOLE lot like a “straight and narrow path.” Interesting then, that it is The Master of Demonic Cultivation who is choosing it, while Lan Wangji—with his brightness and discipline and clarity—is following the “easy” way.

So, there it is: whose deontology is the right one? How do you choose?

It’s the epistemological aspect of the question of ethics that Newbigin gets right in that quote I posted the other day. Honestly, I disagree with a great deal (like, a lot) of what Newbigin says in that book, and I think he spends far too much time running himself in ever tighter Calvinist circles, (not to mention I have little interest in missiology and am highly skeptical of evangelism). But! I appreciate that he does, at least, recognize the danger of believing we have insulated ourselves completely from uncertainty or of expecting that certainty is even a thing possible to achieve.

But where do we choose to anchor our axioms? And why? Whose deontology is the right deontology? The rules written on parchment and stone? Or the rules written on our souls? Remembering, of course, that both are fallible. 16 years in the future, will the two leads have changed their minds at all?

And now with any luck, I’ll have a free weekend in which to watch the last 20 episodes, assuming no one wants me to do adult things like house cleaning or completing design projects people are paying me for.(10)

Like how Tolkien switches register from the low and comedic to the high and romantic but you’re fully aware it’s all really part of the same story and suddenly, bam!, you recognize that those aspects of life are somehow not able to be disentangled.

OMG is this an intentional play on “cultivation”? Sometimes I can’t tell what might be getting lost in translation, and I’m certainly too ignorant of Chinese culture, mythology, and folklore to really appreciate everything happening in this show, not least of which due to the language barrier.

He is, interestingly, far more moved by it than the drawing Wuxian does of *him* two episodes beforehand—is this merely the result of the progression of their relationship? This is post-cold springs after all.

That took some research to understand!

The main “vulnerable” character that he never seems to swoop in to save is Meng Yao and I wonder if it’s because he can sense something “off” about him. I felt bad for Meng Yao at first but he always put me on edge. Honestly, is there anyone who trusts Meng Yao as far as they can throw him? *looks at Elrond* OK, anyone except Elrond?(6)

Honestly, before I started watching this I saw that one of the characters was being referred to as Elrond and I wondered, going into it, if I’d know which character it was, and then Lan Xichen walked in and I was like “oh, yeah, obviously!” Seriously, what is it about him? Is it his physical appearance? The way he holds himself? His outfit? His pattern of speaking? How is this person so obviously coded “Elrond?”

Except they don’t really. That’s never how it works.

And interestingly, when looking at his name: “Wei Ying, Ying is his 名, meaning, baby; Wuxian is his 字, it comes from an ancient prose “喜乐无羡赏,忿怒无羡刑”, which means when you’re delighted don’t reward without restraint, when you’re angry don’t punish without restraint. Wuxian here means exercise your power reasonably.”(9)

The richness of the world in this show really appeals to me as does the carefully choreographed costume design, productions design, and cinematography (seriously, everyone needs to dress like this all the time; end of story; I have spoken). There have been some amazing shots that I can only assume are drone footage that have been ADRed?

20 years in and adulthood still sucks. 0 of 5 stars. Would not recommend.

#the untamed #mo dao zu shi #grandmaster of demonic cultivation #mzds #tolkien #yes tolkien gets a namedrop too #he's like the linchpin of my brain

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unfortunate-stranger-losers · 5 years

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Six Baudelaires AU, Part Two: Reference Guide

A quick guide for everything I intentionally referenced in The Six Siblings, Part Two: This Tale is All Sorrows and Woes.

{ao3} {tumblr} {part one reference guide}

MAJOR SPOILER WARNING - the plot twists from this section of the fanfiction will be discussed at length.

Without further ado…

Chapter One / Prologue - in which Lilac has to Older Sister

“Release Nick, you fiend!” Violet tackled Klaus to the ground, as both of her brothers burst into giggles. “Never! Nick’s my prisoner of war!” Klaus said, trying (and failing) to push her off.

Nick being the “captive” in the childrens’ game throughout the chapter is a bit of an obvious foreshadow to his captivity from Chapters 12-20... which meant it was really fun when none of you noticed until then and then tried to kill me. XD

A full reference of the books namedropped in the childrens’ game:

Violet and Nick’s kingdom, Terabithia, is from Bridge to Terabithia by Katherine Paterson. Their original characters, either Susan/Lucy and Peter/Edmund, are a reference to The Chronicles of Narnia by CS Lewis.

Lilac and Klaus’s kingdom, Gwyntystorm, and their characters, Irene and Curdie, are from The Princess and the Goblin and its sequel, The Princess and Curdie, by George MacDonald.

Lilac says she thought Nick was Eragon, from The Inheritance Cycle by Christopher Paolini, and Klaus says he was Aragorn, from The Lord of the Rings by JRR Tolkien. Nick’s suggestion for a new name, Glaedr, is also a character from The Inheritance Cycle. Nick finally decides to be Peter Pan, obviously from Peter Pan by JM Barrie.

“Naw, they definitely are.” Nick nodded. “When a new baby is born, one of the other children has to die. Everyone knows it.” [...] “Now, since it’s a girl maybe, they could take out one of them,” he gestured towards Violet and Lilac, “But you’re the most useless, Klaus, so-” [...] “But yeah. Babies suck and we should totally throw our sister off the roof.”

Direct reference to Addams Family Values (1993)

“Watch me.” Nick’s eyes lit up. “Wait, no, better plan. You guys remember Moses-”

Reference to the story of Moses, who was placed in a basket in a river as an infant.

Lilac quickly answered the phone, saying, “Baudelaire residence. This is Lilac Emily. To whom am I presently speaking?”

Lilac’s middle name is taken from her actress, Emily Browning.

“We’re sensible and proper!” Nick added.

A reference to S Theodora Markson��s catchphrase in All the Wrong Questions.

“What was that, Dad? No, no real ropes. Yeah, promise. We’ll go to bed on time, too. But you’ll all be back in the morning? Yeah, I know. Don’t open the windows.”

The Baudelaire parents don’t want to risk their children getting recruited.

“He said we have a new sister.” Lilac reported. “Solitude Theodora Baudelaire.”

A direct reference to S Theodora Markson.

“Can we make a blanket fort?” Klaus asked. “Like we used to?”

Much like the last prologue, this is a reference to the scene from the 2004 film.

Rest of the fic under the cut.

Chapter Two - in which the Baudelaires move into a nice Shack

As he stood, Nick turned to look at his brother, and after a second, he realized something. “Wait a minute.” he said. “Are you… taller than me?”

A reference to Louis Hynes’s growth spurt inbetween TMM and TAA in the Netflix series. (Though, fun fact, at this moment in time, Liam Aiken is currently taller than Louis Hynes, so I guess Nick eventually does end up taller.)

Violet groaned and stood, and Solitude said, “Winnie,” which meant, “We could have Babbitt judge; they’re good with numbers!”

A reference to the main character of Babbitt’s namesake, Tuck Everlasting by Natalie Babbitt.

After a moment, Nick said, “I’ll give you a tip.” “Yes?” Nick smiled slightly. “There’s a book, about the mother of a girl who reminds me a lot of you, in that everyone thinks she is adorable and perfect. The mother gets scared when the girl’s classmate drowns on a field trip and her daughter steals something shiny off of him, and she then finds out that she has a very suspicious genealogy.”

Nick giving tips in the form of book recommendations is a reference to Lemony’s habit of doing the same thing to Pip and Squeak in All the Wrong Questions. This is a double reference, as Liam Aiken, Nick’s actor, read the audiobooks for ATWQ.

The book he is referencing is The Bad Seed by William March.

“Gah-ahc.” said Solitude, which meant, “Let’s sleep outside.”

One of Soli’s lines in the 2004 film.

Chapter Three - in which the Baudelaires make new friends

Sunny narrowed her eyes. “Armoracia,” she muttered, which meant something like, “That doesn’t sound right. Apples and Horseradish taste very differently.”

Early foreshadowing for Sunny’s cooking interest.

“I can get the windows,” Lilac said, “Should be an ordinary-enough pin-tumbler lock.”

The phase “ordinary enough pin-tumbler lock” is repeated a lot, as a reference to the second All the Wrong Questions book, When Did You See Her Last?

“Yeah, there’s no locks.” Duncan said. “Bonnie said that they fell off a few years ago and never got replaced.”

A reference to a main character from The Wolves of Willoughby Chase by Joan Aiken.

Chapter Four - in which Duncan and Isadora break into a Library

“See? Researcher. Like Klaus.” Nick said. Klaus narrowed his eyes at his twin, trying to figure out what Nick was on about. “Is that… really important?” “Yes.” Nick said, and failed to elaborate. [...] “I think Klaus and Duncan should take the fungus.” Violet said, sharing a look with Nick. “The rest of us can keep an eye out for that book.” “Why should we take the fungus?” Violet held back a smile and shrugged, but Klaus quickly figured out what was going on. His face went red, and he glared at her, but Duncan said, “I’m fine with that,” so all he could do was shrug and keep shooting his siblings dark looks.

Violet and Nick are trying to set Duncan and Klaus up, much to Lilac’s horror.

“Like a little cat.” Duncan said. “One of those feral ones that are super tiny.”

A reference to the world’s smallest cat, the Rusty-spotted cat.

“That doesn’t sound right, but I really don’t give a shit.” Nick shrugged. “We’ll find it, won’t we, Soli?”

A reference to a line from It’s Always Sunny in Philadelphia episode 5x03, “The Great Recession”, which later became a meme - “That doesn’t sound right, but I don’t know enough about stars to dispute it.”

Chapter Five - in which the children run amok at Prufrock Prep

“You’re lucky.” Isadora said, sitting on the edge of the roof and kicking her legs as she looked down at the dying grass fields. “Our parents’ estate’s executor doesn’t give a fuck until orphans are ‘in’, whatever the hell that means.”

As revealed in The Slippery Slope book, Esme was left in charge of the Quagmires’ estate.

Lilac giggled. “Yeah. Mom used to have [a necklace] just like it, except instead of these gear patterns, it had her initials. I always thought it was pretty, but she never let me wear it, so I learned how to make my own. She was… so proud.”

2004 Film Violet does indeed have a necklace throughout the entire film; I just added a backstory.

“Nick Liam Baudelaire, what the hell is that?” Lilac shouted.

Nick’s middle name is in reference to his actor, Liam Aiken.

“Marbeau,” said Sunny, meaning, “Maybe they’ve finally opened a daycare or toddler school.”

A reference to Firmin Marbeau, who pioneered a forerunner of modern daycare.

Chapter Six - in which the Baudelaires have Gym Class

“Tik,” said Sunny, meaning, “No! Typing and stapling is so hard when we’re tired!”

“Tik” spelled backwards is “Kit”, which, no, is not a reference to Kit Snicket, but Kit Kittredge, who famously carries a typewriter.

“Say goodbye to Nick, Solitude.” Lilac said, grabbing the toddler’s hand and dragging her to her feet.

Another bit of foreshadowing for Nick’s capture.

“Olil.” Sunny groaned. “Leave me alone to die.”

“Olil” spelled backwards is “Lilo”, as Sunny is directly quoting a line from Lilo & Stitch (2002).

“Speaking of which,” Carmelita said, “As this is the second message I gave you, I really deserve a tip at this point.” “There’s a book about what happens when you let a bunch of schoolchildren run around unsupervised,” Klaus said, “And it features a pig’s head on a stick.”

Once again, the book recommendation instead of a tip is an All the Wrong Questions reference.

Klaus is recommending Lord of the Flies by William Golding.

Chapter Seven - in which Nick gets them all in Even More Trouble

“I’m just telling you what I was told to tell you.” Carmelita giggled. “And since this is my eleventh message, you’re overdue eleven tips.” “We gave you our tips.” Nick said, glaring at her. “But here’s today’s; there’s a book that was made into a popular film that is about a hound dog and a fox. In the book, at the end, the hound kills the fox.”

Once again, ATWQ reference with the tips.

The book he’s recommending is The Fox and the Hound by Daniel P Mannix; and, yes, that IS how the book ends. The Hound dies, too. You’re welcome for ruining your childhood.

“Klaus?” he sounded very uncharacteristically terrified. “Klaus? Are you okay?” Klaus, startled, quickly stumbled out, “Y-yeah, I’m fine…” as Lilac and Violet also jumped up, grabbing the infants, and the Quagmires hurried to their feet. “Did your glasses break?” “No, I’m-” “Are you hurt?” Nick pulled away from his slightly, his eyes moving fast as he scanned his brother.

While Nick’s PTSD worsens much later, the first signs of it start showing here; he’s still traumatized from Klaus’s hypnotism, which was always kicked off with him getting tripped and his glasses breaking.

“I wouldn’t say that.” said Nick, glaring down at the floor. He hadn’t looked anybody in the eye since he’d attacked Carmelita.

Nick isn’t ashamed of attacking Carmelita; he’s ashamed that he “overreacted” to something so minor. He doesn’t like admitting he needs help, which becomes a problem after his capture.

“We know what homeschooling is.” Violet said. “We were-”

In this continuity, the Baudelaires were homeschooled before the fire.

“Halloween, age nine,” Isadora said, “Was when we wanted to go as a certain family of six children. The problem being that there’re only three of us.”

A reference to The Brady Bunch.

“We know you’re not asking.” Isadora said, smiling. “We’re volunteering.”

whelp.

Chapter Eight - in which Lilac Snaps

No major references in this chapter.

Chapter Nine - in which the Baudelaires are given Fashion Lessons

They fell silent again, and then quietly, Lilac started to sing. She sang a song that was normally played very loud and energetic, but she gave it a slower melody, quietly soothing Sunny as they walked up and up the large staircase. It was a song about how everybody’s looking for something, and as they walked, listening to Lilac’s soft voice, they all really hoped that whoever was looking for the Quagmires would find them quickly.

A reference to “Sweet Dreams (Are Made Of This)” by Eurythmics, but more specifically, a reference to Emily Browning’s cover version.

“Ah, you’re very adventurous!” Jerome said. “Just like your mother. We were friends a ways back. We hiked up Mount Fraught with some friends- gosh, it must have been twenty years ago-” [...] “Hmm? Oh, no, just the Snickets and that Markson boy.” Lilac narrowed her eyes. “Who?”

“That Markson boy” is a reference to the theory that Bertrand Baudelaire was adopted by S Theodora Markson’s family. Lilac’s recognition is not of her father’s maiden name, but of “Snicket”, which she vaguely remembers from her childhood.

Chapter Ten - in which the In Auction is planned

Currently, the Baudelaires were spread out in the living room. Nick and Klaus were trying to read through a book on Emily Dickinson that they’d bought the other day, while Violet and Lilac were going through the newspaper, trying to find something interesting, or some news on the search for Count Olaf.

The Baudelaires miss the Quagmires so much they’ve accidentally picked up their habits; Emily Dickinson is a famous poet, and Violet and Lilac are reading the newspaper.

“She seems like the kind of person who’d try to set me up with some rich kid.” Nick said. “And I’m never getting married, not even when I’m older. I’m gonna live alone in the woods, and the only one who can come visit me is Soli.”

Nick is aromantic.

“Ihering!” Soli said, which meant something like, “I’ll live with you and we can raise reptiles in the woods!”

A reference to Hermann von Ihering, a zoologist.

The waiter nodded. “I didn’t realize this was a sad occasion.” [...] “Did you say-?” Lilac began.

The waiter is a VFD agent; once again, Lilac vaguely recognizes the code phrase.

Chapter Eleven - in which Klaus finds an Ersatz Elevator

“I’m not going to let us chase red herrings!” Lilac shouted back, hurt.

Dark foreshadowing to the red herring statue.

“Solitude is,” Nick said, moving past him to find a pencil and paper, “Sunny is the albatross that curses us.” “Doom!” Sunny cheered.

A reference to The Rime of the Ancient Mariner by Samuel Taylor Coleridge.

“It worked.” Violet smiled. “We never expected otherwise.” Klaus said.

A reference to the line from “The Bad Beginning: Part One” in the Netflix series.

Chapter Twelve - in which the Baudelaires fall

“Not so bad.” Solitude muttered. Then, she said, “Radec,” which meant, “Just think of it as a ride, instead of an actual fall.”

“Radec” spelled backwards is “Cedar”; a lowkey reference to Cedar Point.

“No, we’re going to make a lockpick.” Lilac said. “Flamethrower’s too volatile. Besides, I don’t trust you with it.”

“Too volatile” is a reference to the phrase being used in The Grim Grotto.

She spun on her heel, exiting out a door behind them. As she did, Nick said, “Should I go after her and tell her the kitchen was out the other door?”

Esme went to call Olaf and the henchpeople, instead of going to the kitchen.

“Yeet Babbitt.” Solitude suggested.

A reference to the vine/meme.

They had to walk through a parlor to get to the door, and as they did, Nick stopped a moment, glancing at the phone. It didn’t look broken. “Hey, guys?” he called, but they didn’t hear him, so he started to run to catch up.

Nick started to run to catch up; he never did, because that’s when one of Olaf’s henchpeople grabs him.

And then, with a swish, there was a thump, thump, thump, and the Baudelaires stopped falling.

Only three thumps- because Klaus and Lilac were carrying the toddlers, and Nick didn’t fall, only three kids hit the net.

“Nhojnod!” Sunny shouted. “You bastard!”

“Njohnod” is “Don John” spelled backwards, a reference to the character from Much Ado About Nothing, who is a bastard in both the legal and ethical use of the term.

Chapter Thirteen - in which Sunny crawls up an elevator shaft

“Sunday Theodora Baudelaire!” Lilac shouted. “You get back down here right now!”

Sunny’s middle name, “Theodora”, is once again a reference to S Theodora Markson; even after her death, she’s still confusing people about what the S stood for.

Sunny sighed and turned slightly towards them, calling out, “Salvo!” which probably meant something like, “I’m going to go get us some rope and see if I can find Nick! I’ll be back soon!”

“Salvo” is a Latin verb, meaning “to save.”

Sunny bit her lip and shook her head. “Appentier,” she said, meaning, “He’s not in the penthouse, at least from what I saw.”

“Appentier” is a french word from which “penthouse apartment” is derived.

“Kim?” Sunny asked, meaning, “Wait, we get leeway for being kidnapped?”

“Kim” is the name of the girl who is kidnapped in the film Taken (2008).

Solitude glanced at her in confusion. “Greywater?” “Yes, Soli,” Violet said, “A word which here means, ‘basically piss and shit.’”

A reference to a line from IT: Chapter One (2017).

Chapter Fourteen - in which Some Children are sold at auction

“You’d be surprised what’s legal and what’s not, actually.” Esme said. “For instance, in our society, cannibalism is legal, but religiously frowned upon-”

A reference to the only ASOUE canon that matters, the Real-Time Fandub. (part one, part two)

“Very interesting.” Olaf said. “And I suppose you think that your dear sister Lilac will take care of you then?”

Olaf is taunting Nick here, as he’s about to drop quite a lot of secrets to him, but mainly that Lilac is his half-sister.

Notably, Nick is the only Baudelaire not present in this header image.

Chapter Fifteen - in which Nobody’s having a good time

No major references in this chapter.

Chapter Sixteen - in which Lilac has a bad plan

For sapphires and fortunes we are held in here. Only you can end our fear.

Isadora’s poems are ever-so-slightly different in this AU, due to Nick’s presence.

The addition of and fortunes indicates that Nick is still with them.

Until dawn comes, we cannot speak speak. No voices come from this sad beak.

“voices” is more specific than “words can”; Nick has already started to go nonverbal due to his trauma, and Duncan and Isadora are unable to yell through the statue.

Chapter Seventeen - in which the Village makes a Big Mistake

But as she passed the Baudelaires, her hand slipped, and the man turned and met Lilac’s eyes. He stared for a moment, as if he realized with a shock he recognized her from somewhere. Then, he said, very quietly, “The world is quiet here.”

Jacques is realizing that Lilac has Lemony’s eyes; if he hadn’t realized before she was his niece, he does now. He tries to signal her with a VFD codephrase.

“Now,” Lilac said, “We will need full access to all your inventing materials.” “And I’ll need blueprints of the uptown jail.” Klaus said. “Dead fly.” said Solitude.

While this is an obvious reference to Soli wanting to feed Babbitt, it is also a reference to a similar request made by Wednesday Addams in the 1964 sitcom The Addams Family, episode 1x10, “Wednesday Leaves Home.”

The first thing you read contains our clues: An initial way to speak to you.

“Our clues”, once again, signals that Nick is still with the Quagmires.

Chapter Eighteen - in which Count Olaf was not murdered

No major references in this chapter.

Chapter Nineteen - in which the Twins get a Birthday Present

“You won’t keep Nick.” Lilac added. “He’ll get away from you, and the Quagmires, too! We’re never going to give up, and neither are they!” “Baudelaires don’t give up!” Solitude shouted. Olaf just smiled. “I wouldn’t be too sure about that.”

Nick’s trauma has already caused him to shut down completely, and Olaf knows this.

Inside these letters the eye will see Nearby are your loved ones and the VFD

Nick and the Quagmires are still together.

Chapter Twenty - in which Sunny drives a Firetruck

“Nick, hey.” Isadora slowly pulled away from Violet and Lilac and stepped closer to the fountain, her voice very soft. “Your siblings found us. We were right. They found us.”

The Quagmires aren’t as traumatized as Nick; they’ve learned how to avoid the wrath of their captors, and have complete faith that the Baudelaires will save them. Nick’s been tortured and told quite a lot of things that temporarily broke him.

Duncan and Isadora shared a glance, and to the Baudelaires’ surprise, Nick flinched and also shared the triplets’ look. “Well, that’s not a surprise.” Duncan said. “He was the brother of a man who-”

Duncan, Isadora and Nick all know about Jacques Snicket, his relationship to Lemony, and Lemony’s relationship to Lilac.

Nick was backing away from the fence, eyes wide, gripping onto Solitude so hard his knuckles were white. Isadora ran forwards, and Lilac realized then that he was shaking uncontrollably. “Nick, Nick, it’s okay!” Isadora said. She reached forwards, grabbing his face. “Look at me! Look at me! Duncan-” Duncan ran over, putting a hand on Nick’s shoulder, as Nick said, “They’re going to find us. They’re going to catch us. They’re going to find us-”

A lot of Nick’s trauma came from punishments after he attempted to escape, so he goes into a panic whenever they’re about to be caught.

At that moment, Solitude pushed Babbitt onto Nick’s shoulder and said, “Hold this!” She immediately started running, jumping over Lilac and crawling through the window and onto the seat beside Sunny. Then she slid to the floor and jumped on the gas pedal, causing them to take off again.

A reference to Pip and Squeak from All the Wrong Questions, who drove their taxi in a similar way.

Klaus stared back, and then his gaze hardened, and his siblings had never seen him look so furious. “I’m going to kill them.” Klaus vowed, and he meant it. “I’m going to kill them, Nick.” Nick’s eyes widened, and for several seconds, he looked like he physically could not process what his brother had just said.

A running joke up to this point was that Nick would suggest murder and Klaus would remind him that was illegal; after seeing his brother in such a state of shock and fear, this gag drops as Klaus decides Olaf and his troupe have to die.

Chapter Twenty-One - in which Nick is not feeling great

Meanwhile, Klaus was leaning against the wall, with Nick leaning onto his shoulder, curled up so he could be as close to his brother as possible. He had his eyes shut, but Lilac knew he wasn’t asleep; she didn’t think he’d slept at all.

A symptom of severe trauma is the loss of sleep, either because of nightmares, or fear of what could happen while in such a defenseless position. This will be explored in Part Three.

Nick bit his lip, and then nodded and said, “I-I’m sorry-”

Nick’s gotten over the initial shock of his rescue, and he’s starting to regret breaking down and starting to hate being so obviously traumatized.

“Wait, Li…” Nick paused. “Can I… can I talk to you?” “Of course.” Lilac said softly. Nick glanced from Klaus to Violet to the toddlers. “Alone?”

Nick has decided it’s Lilac’s right to know she has a different (possibly living?) biological dad than the rest of them, but he also knows it’s her decision who else she wants to know, hence why he wants to tell her alone.

Nick looked up at Klaus, and said, “I-I…” he shut his eyes. “I thought I heard… no, no, I must’ve… I thought I heard her, but… I had to… she wouldn’t… have found us this fast…”

Esme and Olaf were Nick’s main tormentors; they trigger his panic attacks more than the presence of the rest of the troupe.

“No! No, don’t leave!” Nick shouted, leaping forwards and grabbing Klaus’s arm.

Nick is absolutely terrified of isolation/abandonment, especially in enclosed spaces.

“Never!” Klaus pushed Nick farther, incredibly terrified by just how quiet his brother was.

Nick was punished a lot for “backtalking” his captors, so when he’s around Olaf and Esme, he almost never speaks.

Chapter Twenty-Two - in which the Baudelaires break into a Hospital

“Dimidium,” Sunny said, which meant, “Well, it’s only half a hospital.”

“Dimidium” is a Latin noun, meaning “half.”

“We could kick down the door.” Lilac suggested. Then, she gave Nick a small smile. “Remember, Nick? When you were locked in the closet and wanted Mom to kick down the door?”

A reference to a previous one-shot for the Six Baudelaires AU.

“Do you think that’ll have the information we need?” Violet asked. Nick flinched again, and then he said, “Um-”

Nick heard the word “Snicket”, and immediately assumes the worst- that it’ll out Lilac to the rest of their siblings.

Chapter Twenty-Three - in which Solitude steals some shit

Nick still didn’t respond, and Violet’s voice broke. “You have to remember. You couldn’t have been younger than… six or seven. Mother and Father were so mad, when they found us I thought they were going to explode… but you weren’t even upset, I cried but you just said you’d… you’d heard some kind of animal cry, and you thought it might need help, and I was the only one awake to help you… they got even madder, told you you should’ve stayed with them, but you didn’t see anything wrong, and… Nick, please tell me you remember that…”

An animal cry is a signal from VFD recruiters to prompt the children to say the codephrase that begins recruitment. The Baudelaire parents don’t want their children recruited, and were terrified to wake up and find their children gone on a night that they could have been kidnapped.

Violet carefully pulled the scraps from her pocket, spreading them out in front of her, while Klaus turned to Nick. “Did they tell you anything?” he asked. “While you were… with them? About VFD, or this whole ‘Snicket’ thing, or Olaf?” Nick didn’t look anyone in the eye. “There wasn’t… much time to chat. I only… Lilac, can we talk?”

Pretty much all of Nick’s pleas for Lilac to talk to her are brought on when Snicket is mentioned.

Nick pulled away, scratching at his arm, “That’s not…”

POTENTIAL TRIGGER WARNING: IMPLIED SELF HARM

Nick’s arm scratches are a tic he picked up during his captivity; he starts to scratch whenever his captors are mentioned, to keep himself alert. This will be discussed and resolved in Part Three.

Nick looked sharply up at her and said, “Mom stole from Esme. She wouldn’t give a shit.”

Nick knows about the theft of the sugar bowl, as well as the Opera Night. (which are separate incidents, fuck you Netflix.) He’s very pissed at his parents for keeping vital information from them.

Chapter Twenty-Four - in which Violet makes a decision

They went to the Js. Then, quietly, Nick said, “Can we go to the L cabinets?” “Why?” Lilac asked. Nick glanced towards his siblings, and then away. “Just a guess.” Lilac shrugged directed them to the Ls, and Nick flipped through one drawer, eyes narrowed. Then he shook his head. “Nothing here.”

He’s looking under both “Lemony” and “Lilac.”

Nick paused. “I mean… we don’t have to- to watch it right away.” [...] “Li, please,” he said, “Can we talk? Just outside, just the two of us, there’s something-”

Nick wants to be able to tell Lilac about the whole “Lemony Snicket” thing before they can risk having her find out from the file.

“I did.” Jacques nodded. “I managed to contact-”

He managed to contact Quigley.

“We’ll find them.” Lilac swore. “Are you okay?” “Yeah.” “Are you scared?” “I’m scared you won’t let me make a flamethrower and turn it on that bitch.”

A reference to this incorrect quote, which is, of itself, a reference to a line from the television show Brooklyn Nine-Nine, episode 3x10, “Yippie Kayak.”

Still no response. Lilac looked around in terror, her hand flying to her necklace. “Violet Malina Baudelaire! You get the fuck out here!”

Violet’s middle name is taken from her actress, Malina Weissman.

Chapter Twenty-Five - in which Lilac breaks down

“I’m not…” Lilac sniffled. “I’m not like you.” Nick froze. “What does that mean?” “You all are so close.” Lilac shut her eyes. “You and Solitude, you and Klaus, you and Violet, Violet and Klaus, Klaus and Sunny, Solitude and Sunny… all of you. You’re all each others’ best friends. None of you care about me like that. [...] I just… feel like… like there’s this wall between us. That we can’t see, but we can’t cross. And I can see you all… you all together. And I just… can’t be like that. Cause I have to be responsible? Cause I’m the oldest? Cause… cause I just can’t be loved?” “Li!” Nick put a hand on her cheek, turning her towards him. “Li, we do love you. You’re our big sister! You’re our sister! You are our family! Sure, we pick on you, but not because we hate you! We all love you, too!”

This is why Nick doesn’t take the opportunity to tell her about her heritage; he wants to wait for a moment where the information won’t give her more anxiety, or make her think she’s somehow less family.

Nick paused a moment, and then he leaned his head on her shoulder, shut his eyes, and said, “They fuck you up, your Mom and Dad. [...] They may not mean to, but they do. They fill you with the faults they had, then add some extra, just for you.” Lilac stiffened for a second, and then carefully put an arm around Nick. “Where… where’d you learn that?” “The Library.” Nick lied.

Nick is quoting “This Be the Verse” by Philip Larkin, which is later quoted by Olaf in “The End.” He learned the poem during his captivity.

“Nick.” Lilac wiped her eyes, and then put her hands on his. “It’s okay to… to talk about what happened to you.” Nick bit his lip. “That’s…” “I’ve been busy, yes, but I’ve also been scared. Scared that I’ll… I’ll hear something that makes everything worse.” Lilac’s eyes darted to the ground a moment, before going back up to Nick. “But I’ll listen. I want to hear you. I want you to tell me.”

TRIGGER WARNING: CSA MENTION

Lilac has been avoiding Nick in fear that he’ll explain what he suffered under Olaf. While she knows learning the details can help her better protect her brother, she is terrified that she won’t be able to handle it, and she’s completely terrified he might have been sexually assaulted, seeing as Olaf threatened to do that to Violet specifically to punish Lilac, and he had Nick under his control for a while.

Nick smiled at her. “You can do anything, sis.”

Nick knows she’s biologically his half-sister, but he wants to make completely sure she knows he will always consider her his sister and his family, and nothing can change that.

Chapter Twenty-Six - in which Klaus impersonates a Doctor

Nick flinched. “You want to be like him?”

Something to note: After his capture, Nick never refers to Olaf or Esme by their names; just him or her.

Nick took a deep breath. “These vents are a lot bigger than I thought, but, um… they’re still pretty cramped.” Solitude shrugged. Of course it didn’t seem cramped to her, she was only a little over two feet tall. “I was just… I’m not sure I like how small it is.”

Nick’s claustrophobia, gained from being trapped in a red herring, a statue, and possibly other small spaces inbetween, is starting up.

“Doctor Howser.” Lilac said in an austrailian accent, thinking very fast. “We’re going to perform surgery soon.”

A reference to Doogie Howser, MD, which starred a young Neil Patrick Harris, who played Olaf in the Netflix series.

“Since when could you do an Austrailian accent?” “You don’t know everything about me.” Lilac scanned the list.

Lilac’s actress, Emily Browning, is Australian.

Chapter Twenty-Seven - in which the Baudelaires jump out a window

Nick had placed Solitude onto the ground and now held Violet by the shoulders, shaking her slightly as he shouted. “What did they do to you, Vi? Vi, what did they do?”

Nick knows exactly what could have happened to Violet in captivity, so he’s completely and utterly panicked.

“I’m with Klaus.” Nick said shakily. “We go together or not at all.”

A reference to the track “Together or Not at All” from Doctor Who, by Murray Gold.

Chapter Twenty-Eight - in which the Baudelaires visit a Carnival

No major references in this chapter.

Chapter Twenty-Nine - in which Solitude finally morphs into a reptile

“Well, if they…” Nick shut his eyes. “We just… better get there before they drink too much, that’s all.”

Nick has had experience with the troupe while drunk, and would rather attempt to speak with them before it goes too far.

“Well, then,” Lulu said, stepping forwards and looking a bit confused, “What exactly are you, please?” “You can call me Babydoll.” Lilac said.

A very clear reference to the character that Emily Browning played in Sucker Punch (2011).

Surprisingly, the henchpeople looked a little startled at that, as did Lulu, but Esme laughed. “Sounds like my kind of girl!” she said. “I drowned an ex once. So did you, dear, right?” Olaf was taking another swig of wine, so they couldn’t exactly see his reaction.

Olaf “drowning an ex” is a reference to the Netflix show canon, where he left Georgina Orwell under a bridge to drown.

His reaction being hidden is because, for obvious reasons, he doesn’t quite want to talk about murdered parents.

“Well, I’m Elliot,” Klaus said, “And this is my other head, Janus.”

Janus was a Roman god with two faces.

“And that down there,” Lilac said, pointing her thumb at Solitude, “Is our little pet gorgon. We call ‘er Euryale, cause her actual name is just a buncha hisses.”

Euryale was one of Medusa’s sisters in Greek Mythology.

Chapter Thirty - in which the Baudelaires put on a show

But as they started to leave, they heard a low rumble, and Nick immediately grabbed onto Klaus’s arm and let out a nervous gasp that was, thankfully, missed in the noise.

Nick recognizes the sound of Olaf’s car.

Chapter Thirty-One - in which the Baudelaires play fortune teller

“Or maybe,” Nick said, very quietly, keeping his eyes shut tight, “They were told not to find us.”

Nick learned a lot about VFD during his captivity, including their recruitment. He’s worried that their surviving parent may be ready to give them up to the organization.

Nick grabbed a selection of paper, staring curiously, and then he quickly tried to shove it back, but Klaus’s eyes widened as he caught a glimpse of it, and he grabbed it from his brother.

Nick, once again, sees the name “Snicket” and assumes the worst.

Chapter Thirty-Two - in which the Baudelaires are asked to murder

“No, thank you.” Esme said, looking down a Sunny and frowning. “I’m afraid I don’t like cinnamon in chocolate anymore, the woman who introduced it to me recently perished in a fire. But it’s very kind of you to offer.”

The Baudelaires received their taste for cinnamon in hot chocolate from their mother.

“Sounds good.” Kevin said. “I’ve committed crimes before. Why, when I was no older than Elliot and Janus-”

A reference to the theory that Kevin from ASOUE is the same as Kevin Old from File Under: 13 Suspicious Incidents, who committed vandalism and thievery.

Chapter Thirty-Three - in which someone is pushed to the lions

“I’m sure you are.” Olaf smirked, and he reached forwards and put a cold hand on Nick’s cheek. Nick tried very hard not to cry, but he wasn’t succeeding very well. “Now go jump into that pit. We want to see you devoured by lions.”

Olaf, who knows that the freaks are the Baudelaires, specifically picked Klaus and Nick to sacrifice to the lions specifically to torment Nick more; he knows what effect he has on him, and is relishing it. Once the boys are gone, they can grab the rest of the Baudelaires and escape.

“I wish we had a cartographer with us.” Violet sighed.

A reference to the next book, where Violet will have a relationship with Quigley, a cartographer.

Chapter Thirty-Four / Epilogue - in which they should have said something

“Come on.” Bertrand said, taking Violet’s hands and spinning her as she giggled. “It’s Duke Ellington. That’s your fav, Li.”

A reference to All the Wrong Questions.

“What song is this?” Violet asked. Beatrice smiled over at Soli, who was curled up on Nick’s lap, biting his sweater. “It’s got a very special name, isn’t that right, dear?” Solitude giggled.

“Solitude”, by Duke Ellington, likely Ellington’s song in All the Wrong Questions.

“Dashiell if it’s a boy,” Bertrand replied, “Sunny if it’s a girl.”

“Dashiell” after Dashiell Qwerty from All the Wrong Questions.

“We could adopt one of the outdoors animals.” Nick suggested. Beatrice and Bertrand turned to look at him. “The what?” Bertrand asked. “I keep hearing animals outside my window, every now and again.” Nick shrugged. “Howling or yipping or sometimes breaking a branch. Maybe if we brought them into the house, they wouldn’t get in so much trouble.”

Recruitment attempts that have not been working, because Beatrice and Bertrand refuse to let their children join VFD.

She turned to a selection of beach photos, slowly pulling out a small picture of baby Lilac, sitting on Briny Beach. It hadn’t been the first time she’d seen the ocean, but she’d still been so excited to splash in the water.

Since Lilac was born eleven months before Violet, it’s likely she was born on the island.

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