#Bankole

[detournementsmineurs]

"Chocolat" de Claire Denis (1988) avec Isaac de Bankolé, Giulia Boschi, François Cluzet, Didier Flamand, Jean-Claude Adelin, Jacques Denis, Mireille Perrier et la jeune Cécile Ducasse, juin 2023.

[bo-kryzze]

THE HANDMAID'S TALE 1.01 "Offred"

[blaithnne]

Beakley's final sheet is here! I gave her a new surname because…. I wanted to, but I think she still uses Beakley sometimes. Half as a pseudonym, and half because it’s a little easier in an English speaking country. This, by the way, is the sparknotes version of her backstory, because there’s SO much stuff I didn’t have room for, and I barely had space to talk about her after joining SHUSH.

MORE Beakley content you ask? Say less

Meet the Cast!

╰┈➤ Canon ☄. *. ⋆

→ Scrooge McDuff → Matilda McDuff → Hortense McDuff → Qalhata Duiker → Ludwig Von Druska → Goldie O'Gilt → LÙ Huifen (pre-caseflies) → LÙ Huifen (post-casefiles) → Bradford Butcher

╰┈➤ OCs ☄. *. ⋆

→ Lucrais NicRiada

.ೃ࿐

[glasskey]

THT True Love and Double Trouble Remix Part 3

Welcome to the 3rd and final part of this remix. In the context of this love triangle Luke is the equivalent to the “home body” or the “boy next door”. For years and years now, in classic love triangle scenarios these slouchers have been “getting the girl” based on the lame-assed rule of “first dibs”. However our heroine isn’t beholden to anyone, SHE makes the rules, and as the infamous Dawson / Pacey / Joey love triangle taught us; the so called “diamond in the rough” is the everyday man’s worst fucking nightmare.

LUKE

Because Luke is the everyday man he presents a perfect vehicle for demonstrating the casual chauvinism experienced by women as a normal daily occurrence. Luke is a homebody with a desire for a wife and an idyllic family, and with this comes all the dynamics of it’s traditionalist ideals. Luke represents the average middle class male persona; educated but self-entitled and somewhat willingly complacent in his efforts to change his or societies attitudes to gender roles and dynamics. As such, the infringements of June’s initial freedoms are concerning rather than alarming and certainly not enough to motivate him into direct action. In Atwoods text Luke actually enjoys some of these restrictions of June’s former freedoms, as they allow him to assert his dominance, thus bolstering his own sense of self confidence. This character aspect has been somewhat downplayed in the series, but we do still see signs of it.

In Atwood’s text, Luke taunts Holly making light of her action against the patriarchy, in the series we see echoes of the two at loggerheads when Holly voices her disapproval of June and Luke’s marriage. Holly’s perception of Luke is as a trap of conventional traditionalism, a direct obstacle between June and her independence. Holly embodies the fight against a patriarchal society and the definitive independent woman. As such she is captured, enslaved and most likely killed off during the inception of Gilead. Moira also voices concerns that Luke will leave her if she cannot produce the child he so desperately desires, leaving June wondering; what if he sees her as primarily a walking womb? June’s insecurity at his faithfulness and her own abilities to provide a child cause her to continuously apologize, and minimize her own anxieties. Ultimately it allows him to take control, determining when they run and enabling his passivity to leave her trapped.

When June returns home she is far from the affectionate, compliant wife he once knew. She is distinctly uncomfortable in a world that somewhat acquiesces to Gilead’s will. She is enraged, vengeful and hypervigilant. After waiting many years for her return, Luke seems determined to “love whoever she turns out to be”, it seems almost defeatist to “let her go” after all this time. However he’s constantly challenged by the person who’s returned to him, and while there are moments of connection they’re tenuous and it’s doubtful that pre Gilead, he would have ever chosen to marry the woman he now knows.

Prior to Gilead’s inception the nature of the physical connection between Luke and June ranged from flirtatious to affectionate. Upon returning from Gilead, physical contact between Luke and June ranges from cautious to violent and finally settles back into a friendly affection. In contrast scenes of unrestrained climactic sex seems to have been reserved almost exclusively for Nick Blaine, drawing a sharp line between the two. In S5 we witness a spontaneously passionate sex scene between Luke and June, but the lighting and positioning hurtles you back to Nick and June’s heated, passionate exchange at the Boston Globe. As June turns away from Luke, it’s difficult not to conclude that June is reliving a distant precious memory. It’s a moment of passion triggered by their mutual hatred of Serena rather than any loving desire for intimacy. In the fading cold light he lies exposed as she remains covered, his attempt to reach her has failed once again.

I truly sympathize with Luke, to me it makes perfect sense that he would TRY and reconnect with June. That he would hope against hope that despite many years of separation and her obvious love for another man, that he might be able to salvage his marriage somehow. Throughout season 4 and 5 we witnessed a man clinging to the past, the moments he connected with June were when he spied the remnants of the woman he once knew, or when hopes of Hannah returning were raised. Maybe, just MAYBE, he hopes, he might be able to get back the family he lost on that icy road so many years ago. Throughout S4 and 5 Luke showed a deepening awareness of June’s altered perception of both him and their relationship. He expressed regret that he’d failed her as a partner and made ill-conceived attempts to redeem his short comings, he tried desperately to hold onto her and the dream of his family…..but it all seemed for naught.

As June bade him farewell at the train station we saw her pivoting from Ep 9 where she told him to let her go, to telling him to come find her. But the borderline disconnection of the last 2 seasons made it seem either like a sentimental goodbye, or an unrealistic attempt to suddenly reconnect these two characters fully. I was moved by the “goodbye’s”, but the “I love you’s” and “come find me’s” left me confused. Had I missed something? Had some immense edit had taken place to save air time?

Both Luke and Nick are cautionary tales but in decisively different ways. Luke is privileged and well educated, he works in a white collar job and he chose a passive role, doing little or nothing to act, at the inception of Gilead. He represents the willful ignorance and complacency of men who assume that power comes at no personal cost. He is a demonstration of men’s responsibility to, not only change their own gender biased beliefs, but be pro-active about changing those around them. In contrast Nick is poor, unemployed, with no higher education and he chose an active role. His position has a great deal to say about the ease of manipulation by the wealthy ruling class. His servile and initially diminutive role of action turns the larger wheels of power for Gilead, as Serena said: “we wouldn’t be here without him”. Both Luke and Nick illustrate the incredible destruction caused to ALL, by both the active practice and social complacency of gender bias. Both challenge our perceptions of guilt and innocence. The Handmaid’s Tale is known for its painfully accurate social commentary, and the inescapable truth is that whether passive or active, both of these roles can be equally devastating.

In S5 we see Serena confronting Luke with the reality of his inaction, provoking a rage filled response. Luke is seething with hatred for Gilead, but there is also an undercurrent of immense guilt and self-loathing for his own apathy.

Luke said nothing, did nothing, ran too late, lost his wife, lost his daughter…….there are consequences. Nick joined the Sons of Jacob, he took part in a right wing regime and he lost his country, his freedom, his daughter and the woman he loves……..there are SO many consequences.

Both of these men signify a journey that male attitudes and society at large must take in order to unstack the deck. Throughout the seasons we’ve seen both Nick and Luke’s painful personal journey of enlightenment, regret and their ultimate choice to change. It’s no coincidence that they BOTH now reside in the “purgatorial” Big House…..it’s time to show true sacrifice and pay the piper.

There seems to be a tendency to attribute a mantel of innocence to Luke for his passivity during the inception of Gilead, furthermore the idea that he’s EARNED some sort of expected devotion through the role of husband and provider. Ironically this attitude reflects the very archaic traditionalism that The Handmaid’s Tale kicks against time and time again. As Holly said, “now’s not the time for settling down, now’s the time to fight.” so when push comes to shove, if either of these boys want to tag along with our rebel, they’d better get ready to gear up and go underground. Rebellion waits for no man.

In story telling great lovers have something that for lack of a better term, could be referred to as “calling cards”. They act like talismans of their deep connection, and Nick and June have a LOT: their hand brushing, foreheads touching, ever present glowing lights, when Nick calls her name, her gasp and eyelash flutter at the mere mention of his name, and the touching of June’s neck. These “calling cards” seem so very conspicuously absent in Luke and June’s relationship, and as the seasons roll on, this is harder and harder to ignore.

The end result is that watching Nick and June fall in love, is like watching two people GENUINELY fall in love for the first time. Regardless of whether this portrayal is the result of June’s overly romanticized narration is irrelevant, the fact remains that Nick Blaine is quite literally being visually described as “the love of her life". In comparison the audience is fed somewhat ordinary glimpses of her life with Luke. The Handmaid’s Tale moves in circles, depicting the turning of seasons and as such June swings back and forth between these men. The end of the shows seasons always somehow cruelly reuniting and yet separating her from Nick. The rule of chances state that the wheel of fortune must finally turn differently this time. But I don’t trust these writers, I never have, they’re erratic and brilliant and you can never trust genius to be predictable. Whether Nick and June end in tragedy, sacrifice or victory is yet to be seen.

[juneandnick]

Make A Wish - Season 6

I do not want to see Nick and Luke team up to help / to save June (and Holly). 🤮

I know, at the end of S5E10, Nick is in jail at Gilead and Luke is arrested by the police at the train station in Toronto. But at the same time, we all thought June was going to leave Holly and Luke at the end of Season 4 to join the resistance ...

Sadly, we saw something completely different during the following season. So I am afraid at the thought that we might see Nick and Luke team up in the final season.

I hope the writers do not reverse the roles: June will be in difficulty and the boys will have to cooperate and will even go together to rescue her. Please no! 🙏

I hope we do not have to see this crap.

What would you like not to see in Season 6?

[frimoussette88]

“Let’s run away to Hawaii !” - a contrast

5x01 | 2x12

+ bonus

[earthmoonz]

WIFEY. | EPISODE EIGHT (8.2)

start / previous / next

For Max, work had been a mercy. Pride month was ‘The Old Salt Bar’s’ busiest time of year (only rivalled by halloween). They’d been disconnected from their day job of late, ghosting through their shifts while their mind battled thoughts of their mother and now of a certain tattooed individual. But now they could distract themself with pride and ensuring that things at o.s.b ran like a well oiled machine. 

(transcript below)

(OVERLAPPING VOICES): Hi, hey, hiya! Hi gorg! How are you?

(CORA): …Do you wanna ring Aish to see where they are?

(MAX): [Weary] Nah. Let’s just start, I’ll deal with them later.

(CORA): Alright…Well thank you to everyone for getting here early. We just wanted to go over a few things with you for this week.

(MAX): We’ve got a drag show, two dj nights and the queer black book club has a coffee morning planned with us as well.

(CORA): The board game social has been pushed to next week ‘cause the organiser isn’t well, so Sim and Taz you don’t have to come in early that day.

(SIM/TAZ): Calm. / Thank fuck! …Sorry, but them lot creep me out.

(MAX): …Anyways! I wanted to highlight that with the drag show, like last year it’s gonna be an all hands on deck situation. We’ll have security again but we won’t be selling tickets on the door like last time, ‘cause that was shambolic.

(JORDAN): Real! 

(CORA): Everyone needs to be on job, I don’t want anyone being left on their own for no reason…

(TAZ): @ me next time?

(CORA): I’m just sayin’! maybe don’t flirt too much with the customers this year.

(TAZ): I can’t help it if people want me Cor. I’ve got a natural charm.

[The door opens, conversation pauses. Aish sits down silently.]

(MAX): …I also encourage everyone to dress up that night as well! We’ll have a photographer and I wanna put some pics on the website and our instagram.

(JORDAN): Wait, are we still doing the staff photo today? Cos I can’t let this fit go unseen.

(AISH): [Quietly] Shit.

(MAX): We are! Sim brought his tripod.

(JORDAN): God bless.

(CORA): Well! I think that pretty much covers everything. Does anyone have any questions?...No? Okay let’s go outside and do the staff picture then. I don’t wanna lose the light.

[Everyone except Aish and Max gets up to leave. Cora and Jordan hang back. It’s clear a conversation is brewing]

(CORA): Do you need me or Jord to stick around?

(MAX): You’re fine babe, this won’t take long.

[abovethegaragepodcast]

Because we love this scene so much here are some amazing GIFs. Tuello is definitely the MVP.

[aishathetaurus]

I said this in a much longer post, but I wanted to dedicate a post to it... but a lot of y'all's hatred towards Luke is just racism. You're racist.

The show's refusal to address race and y'all's obsession with Nick being with June is having an effect on y'all. I mean, you were racist before ever seeing the show, probably, but the show's refusal to just say it outright isn't helping. Its touched on in the book, but not so much in the show or movie... I'll solely address the lack of understanding towards Luke's circumstances and just... leave the whole Osblaine thing alone.

In the book, the racism is just as clear as the misogny. JUST as clear. You barely see black people (and nonwhite people in general, but I'm talking about black people and the book actually touches specifically on black people as well) in this setting simply because in Gilead black people are not allowed unless their ovaries are promising. Black women didn't become handmaids. They were just killed or sent to the colonies, and if they were lucky maybe they'd get to be a Martha. Its silly and naive to think the gendered slavery or horrids stopped at just forcing women to be bastardized surrogates when there's room for so much more horrendous realities, whether it was shown on screen or not. This isn't something you had to read the book to get a grasp on. Its just... heavily implied either way. This isn't saying much because there were few, but most black women we've seen on screen at once is when we saw Unwomen...

Some of us have noticed the few times the show has hinted to how race is being handled and how it affects everything. To some of us, even without those hints, its obvious... The racism of it all is implied actually. Its so implied, it almost, doesn't need to said. However, to most of you? You're oblivious, so it should've been said. Over and over, actually.

Luke is doing the best he can in a system that was literally built to go against him. Even the current system, where the focus is mainly on women, is built against him despite the fact he's a man... he's still black. Imagine the fear of living as black man of America... Now take all the worst parts of America and put them into their own country... Now imagine the fear navigating that... Imagine what the level of fear does to you... Again, this isn't something you'd have to read the book to wrap your head around... There's a lot of pressure on Luke not only as a man, but as a black person and he's clearly just very very scared, as he should be.

With all things considered, he's doing great. He's been doing great this entire time. He didn't ruin anything this episode, nor has he ever. He did what needed to be done. He didn't need permission or extra context. He has never had the time or space to pause, consider context, and be gentle with his wrongdoers the way people like June or Serena has... This being a hard time for women, doesn't erase the reality of how black people are treated. In fact, with so much freedom to treat people however, it just heightens the racism towards black people. Again, not necessarily something you needed to read the book to grasp.

Either way, Serena is a literal war criminal and a serial rapist that stepped foot out of her allowed space. Whether he called or not, immigration was coming for her ass, and he did the right thing by speeding up the process.

After being kidnapped AGAIN... calling immigration and the police on the woman that helped enslave, imprison, and rape his wife was the only option... How do you see that and then still rage? What else was he supposed to do? What are your expectations of him? Not just in this episode or the last, but this whole time... What the hell was he supposed to do as a black man? Try to save her and stick out like a sore black thumb and end up getting himself and June killed?? He's not Nick. There was no helping her. The anger literally doesn't make sense and its getting to the point I have to assume its simply racism.

The inability to understand his circumstances... How harshly he's judged... yeah...

Luke was just as "useless" in the book and 1990's movie, yet its only when it comes to the show, where he's portrayed as a black man, do I see any commentary on how truly "worthless" he is. Its interesting.

[astro-tag-9]

The Handmaid’s Tale Astrology

June Osborne - Capricorn Sun, Sagittarius Moon, Aries Rising

Serena Joy - Scorpio Sun, Aries Moon, Taurus Rising

Moira - Aquarius Sun, Pisces Moon, Leo Rising

Nick Blane - Gemini Sun, Scorpio Moon, Capricorn Rising

Luke Bankole - Virgo Sun, Virgo Moon, Gemini Rising

Rita - Taurus Sun, Taurus Moon, Sagittarius Rising

Aunt Lydia - Libra Sun, Cancer Moon, Aries Rising

Fred- Leo Sun, Leo moon, Virgo Rising

Emily - Pisces sun, Capricorn moon, Capricorn Rising

Janine - Cancer Sun, Libra Moon, Leo Rising

[detournementsmineurs]

Isaac de Bankolé et Giulia Boschi dans "Chocolat" de Claire Denis (1988), juin 2023.

[placingglaciers]

Chapter twenty-nine, "The Father: Part III," is new. :)

Nick is back with the ones he loves!

[bo-kryzze]

THE HANDMAID’S TALE 5.02 “Ballet”

[tv-moments]

The Handmaid’s Tale

Season 5, “Allegiance”

Director: Bradley Whitford

DoP: Nicola Daley

[glasskey]

THT True Love and Double Trouble Remix Part 1.

Over the next few mixes I’m going to talk about the embodiment of themes and concepts in character constructs, in particular for the participants of our infamous Handmaid’s Tale love triangle, Nick, June and Luke. I first wrote about Nick and June’s character concepts in Nick’s Playlist last year, but let’s face it ALL of these characters are intimately bound to one another and it’s finally time to talk about how and why. Welcome to the True Love & Double Trouble Remixes.

JUNE

In general when constructing a character for the purpose of telling a story, they’re written with themes and concepts in mind which form their history, motivation, journey and final destination. In Atwood’s text June is meant to represent the everyday woman, nameless, caught up in the whirlwind that is Gilead. She acts as an unreliable narrator, providing her unique perspective that seems simultaneously fantastical and horrifically true. She is propelled from a life of relative peace and tranquility into one of slavery and subjugation. Gilead’s expectations and restrictions are used throughout to not only contrast against our understanding of basic freedoms, but also highlight an existing undercurrent of societal gender bias in June’s pre Gilead life. She engages in acts of rebellion that give her a sense of freedom and ultimately launch her into unknown territory. In the series June transforms from someone who’s “not that kind of person” into Gilead’s worst nightmare….hope.

Those stolen from a free country and forced to live in slavery, still recall their liberty and therefore relentlessly seek it through constant acts of rebellion. A generation born into it however, may easily be taught to accept it as ordinary, as Aunt Lydia observes in S1; given time the abnormal will become the new normal. When June smuggles out a plane load of children, she steals Gilead’s ability to normalise its fascist ideals in the next generation. It gives those trapped in Gilead hope and in S4 and 5 we see Gilead’s relentless campaign to eliminate her, extinguishing her legend and therefore any ensuing acts of rebellion.

In S4 when Osborne is recaptured as a handmaid her notoriety and subsequent incarceration is used to create a loss of hope amongst the Handmaids. If June Osborne a handmaid of such repute can be bridled by Gilead, their power must be complete. By the same logic, once June Osborn escapes their grasp, her freedom cannot be tolerated. June represents the spirit of rebellion who along with Nick Blaine, gives birth to her countries future liberty; Holly. June reclaims her sexual freedom in the form of her relationship with Nick, but it’s not just sex, it’s the seeds of rebellion, liberty and love that are being sown here. Her bond with his character is a clear statement about her need to journey into deeper personal uncharted territory, in order to achieve freedom. It’s a message about the necessity of love to sustain us as human beings, the need for community and family, and how intimately these are tied to free will. As their relationship crystalizes his sense of freedom and her power grows.

“No one dies from lack of sex, it’s lack of love we die from”, “Grab love wherever you can find it” June states as her relationship with Nick deepens. The tenor of these statements and the recording to Luke “I am ashamed……..He helped me to survive” speak loudly of a sense of guilt that she has found love somewhere else, painting it as a matter of sheer survival. Despite this when June returns to Canada, Luke becomes increasingly aware that far from being merely a matter of necessity, this bond is actually something much, much more. He grows to understand that his wife’s view of him as a “complete” partner has been permanently changed and that he would actually never be enough for her. Luke epitomizes the country June left behind, a landscape she now finds alien and uncomfortably unfamiliar.

Instead of grieving acceptance, we see June’s growing desperation and distress that the daughter she conceived in a once free country is now slowly being swallowed by Gilead’s maw. In the S4 bridge scene, Nick assures her that Hannah still loves and remembers her but it’s debatable as to whether this is true, or she is much like her country slowly falling under Gilead’s spell. Throughout S4 and 5 there are several moments that Nick and Hannah are mentioned, together they represent the figurative “reward” June will receive once Gilead is defeated. Lawrence flaunts Nick in an attempt to have June submit to Gilead but it’s nothing but Fools gold, for neither of them will be truly free.

June is like a barometer, an indicator of the shifting winds of change. While she stays in Canada with Luke, the spirit of rebellion lies dormant, like the gun she buries in the snow. Lawrence observes that she is “losing her edge”, meanwhile Gilead grows in strength and the people she left behind are bent to its will. We see Hannah begin schooling to be a wife, Janine demonstrating a new level of compliance and Nick is swallowed by his surrounding influences, “groomed” by Lawrence to become a dutiful and brutal fledgling commander. These characters say a great deal about Gilead’s power structures. Hannah represents a new generation of believers, Janine; the walking manifestation of all the horrors Gilead visits on the Handmaids. Nick represents the next generation of the power structure, its ability to exercise will and force, he’s “a puppy” in training.

As June breaks her bond with Luke and Canada, we see these influence of Gilead’s power begin to crumble. Hannah remembers her name and writes it down. Nick rejects his allegiance to Gilead completely, sacrificing everything for those he loves. And Janine refuses to comply with Aunt Lydia’s demands no matter what the cost. June’s relationship with both Luke and Nick are designed to signify two separate states of grace (passivity or rebellion) and as the season’s progress, and she develops her relationship with each counterpart, we see a distinct shift from one state to the other. The nature of the love she has for each is noticeably different too; her love for Nick is romantic, passionate and enduring, while Luke conjures feelings of devotion and commitment. Throughout S5 we watched June attempt to return to her “home” finding instead distant memories and simmering tension, which comes to a boil in ep10 as we hear her say “America wasn’t Gilead until it was. We have to run. Now.”

In Ep 10, Luke bids June farewell, finally acknowledging her autonomy in the form of her maiden name. It signified a breaking of this bond with her former life and a return to her original state of independence. S5 Ep 10 is the metaphorical Tabula Rasa for all of these characters. Everything they have attempted to build is rubble, their homes are gone and they have been scattered to the wind. June tells Holly on the train “we’re going to a beautiful island”, Hawaii the recurring elusive destination of idyllic safety. But she is shortly confronted by Serena, promptly reminding her that the ghost of Gilead will follow her, no matter where she runs to. As Nick so succinctly says “they’ll keep coming for her….”

Back soon with the second installment in our latest remix.

[juneandnick]

In S2E09, Nick came to meet Luke at The Comrade bar. Did you notice it?

The term comrade generally means 'mate', 'colleague' or 'ally'. Derives from the Spanish and Portuguese, term camarada, literally meaning 'chamber mate'.

It may also specifically mean "fellow soldier", comrade in arms.

Source Definition: Wikipedia

If your answer is 'Yes', how do you imagine the scene?

If your answer is ''No', why did you choose this answer?

I guess they will meet again. In which circumstances? I do not know.

But for sure I cannot imagine Luke coming to meet Nick before reports to June:

- He loves you. He told me he will never stop.

As I already said, I do not want to see Nick and Luke team up to help / to save June.

As I do not want to see Luke around when Nick and June will have to entrust Holly in a foster family. Or he could be a spectator of the scene in the distance.

As I wrote some months ago, I could imagine Luke saying to Nick (about Holly):

- I am a much better father to her than you will ever be. She already calls me daddy.

As Osblaine In The Beach wrote in November 2022, we absolutely need to see THE CHAT between June with Luke about Nick . It is time to be honest and to tell the truth even if it is painful. There is nothing worse than living in a lie or in a fear.

Source Pictures: Screenshot S2E09 (by me)