#Dissertation writting

[stevehenryblogger]

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[librarycards]

How’d you discover you were plural? If that’s ok to ask

of course! genuinely, it's less of a discovery that &i is/are plural, and more that plurality is a meaningful conceptual framework to apply to my/our existence.

to dip a bit into coming-out cliché, &i've never felt, like, singular; we've always been iterative. we hardly even share the same body. actually, the iterations we've been are sometimes tied to particular forms of embodimindment, not unrelated to other experiences i've had - disorderly eating/drastic weight changes/puberty/trans medical interventions/elective body modification/lived experiences of trauma. this, like many things, is something for a while we assumed everyone felt (and perhaps everyone would, if we as a society did not tamp down so violently on our inherent systemhood [we're made of systems]).

then, &i learned that not everyone referred to themselves with different pronouns directed toward different iterations, and that this actually offended some trans people &i tried to like, ~build community~ with. people don't like seeing selveshood as periodized, because that disrupts the narrative of linear progress/growing-up we like to ascribe to "being a person."

so we sat with this feeling of having grown sideways or crossways and learned about multiplicity (beyond harmful media/medical discourse) on tumblr. actually, &i think [S]arah learned about it back when she was knee deep in the whole indigo children thing lmao, because there was also soulbonding stuff etc. [don't bother with those types of sites, they're run by new age antisemitic anti-vaxxers, but obviously 9 year old [S]arah didn't know that].

when we began learning about multiplicity on tumblr, we were under the assumption that alters had to be far more clearly defined and transparently mapped than is true, &i think, for most systems. others have commented on the weird proximity to clinical confessional discourse that fixations on system mapping point toward: not because there's an inherent problem with system mapping, but because the idea that everyone/everymany must do this / leave evidence of their collective (and ultimately, legible) existence, is just bullshit, just like the stories we have to tell to receive "gender dysphoria" diagnoses.

i think what really changed our relationship with multiplicity was/is our friendship with @materialisnt. it's difficult to describe the degree to which mix moss have impacted &my life, both through chaim "formal" scholarship (the formal/informal binary is bullshit ofc) and through several years of deep friendship and unwavering solidarity. &i recognize in hindsight that &my longstanding interest in multiplicity - and alterhumanity writ large, because i am not a human and actually don't think any of us are or were? - was really just, you know. being an egg. many such cases. mix. moss's patience with &my questions & collective excitement at my interventions and thoughts gifted us the confidence to, only recently [and partially pursuant to &my dissertation, which includes discussion of alterhuman digital epistemologies and pedagogies] begin identifying with plurality. perhaps even "as", though that preposition has always skeeved &me out when it comes to identity stuff.

ultimately, &my relationship with plurality isn't a concrete object that we eventually dug up and slapped a nametag on. it's a meaningful, collaborative, and community-based signifier that helps us best situate ourselves in conversations about relationships and love and pain and time and all the important parts of. existing, we guess. it's a choice to generate linguistic and spatiotemporal friction be just kinda existing and not being "one human being". it is also something that feels deeply heart-aligned, something that allowed me to let out a breath we'd been holding for a long time, and free up space to think with more creativity and compassion toward those &i value most: that is, those rejected by the existing conditions we call "reality" and "commonsense" and instead think more capaciously, as ourselves, about different ways of being persons and people together.

[y3joon-png]

"The Oedipal Struggle of Dostoevsky Toward Gogol" (Piotr Axer) - My synthesis

Hello guys it's been a long time since i haven't posted so i'm back with this synthesis of an amazing work i just read !!

You guys probably don't know about it but i'm a huge fan of literature, especially English, Japanese and Russian (even if i don't know a lot about this latter one). And today i decided to do some research about Nikolai Gogol's life & works as i already ordered some of his books. While looking for one of his specific works (i was looking for a pdf english translation of 'Hans Küchelgarten') i found a dissertation by Piotr Axer about (in large) the influence Gogol's works had on Dostoyevski's works. As i'm reading 'Crime and punishment' and planning on reading some Gogol's novels (+ i'm a huge fan of fyolai) i decided to read it. To be honest it was quite long (around 220 pages) but really interesting and i did a quick synthesis of it but instead of keeping it for myself i chose to share it here so fyolai fans, literature fans and lazy people can learn stuff (the link of the original work is at the end of the post for those who wanna go deeper and read it).

Few informations about both of the authors :

Fyodor Dostoyevski : Russian author/novelist ; 11th november 1821 - 9th february 1881 ; naturalism, realism

Nikolai Gogol : Ukrainian (russian empire) author/novelist/poet/dramatist/literary critic ; 1st april 1809 - 4th march 1852 ; formalism, realism

Sythesis :

We can feel Gogol's influence on Dostoyevski's works in many ways, but the most noticable one is the references to Gogol's characters :

"His entire estate consisted of just an overcoat, like Akaki Akakievich" ('Petersburg Dreams in Verse and Prose') => Akaki being the main character of 'The Overcoat' (one if not the most famous of Gogol's novels)

"to keep asking about Garibaldi and about italian affairs, as Poprishchin did about Spanish matters … And thus there formed within him little by little the incontrovertible assurance that he was in fact Garibaldi, brigand and violator of the natural order of things" ('Petersburg Tales') => which is an actual reference to one of the titular characters of 'Diary of a Madman' (Nikolai Gogol) whom belives himself to be Garibaldi (political italian figure, 1807-1882).

In his early years of writting Dostoyevski can't evade Gogol's influence like a young man cannot escape his parents' influence and this even if their works aren't in the same style at all (Dostoyevski : more realistic, dark and mysterious / Gogol : more satiric, controversial and humour oriented).

On the other hand, Dostoyevski critized Gogol's religious opinions but he was mostly criticizing his morals and aesthetics. However, Dostoyevski explains his religious opinions and his understanding of the use of religion in literature through 'The village of Stepanchikovo'.

In conclusion we can say that Gogol's work had a huge impact on Dostoyevski works. By being an influence at the beginning of his career but also while the maturating process of Dostoyevski's works and artistic opinions as he was contesting Gogol's aesthetic, personality and religious ideas.

I hope this quick sythesis pleased you and that you learned things if you have any questions i would gladly answer them in the comments, xoxo <33

the dissertation's link :

[nereidprinc3ss]

we are sooo back i finally read pt 7 for the first time this morning i am here to give you my dissertation as usual spoiler alert i think u are everything good in this world

i really like how even though the part started off kind of high paced (if that makes sense) like i could Feel the energy & how passionate it was, it ended up slowing down a bit & they talked about things before deciding to continue because i’m sure that wasn’t easy to come up with and write 😭 i feel like figuring out how to start writing something is super hard & especially coming off the end of pt6 where the energy is hot and heavy LOL i feel like it couldn’t have been easy to figure out how to segway that into the beginning of a whole new part (unless it was easy cause you’re just good at everything nobody would be surprised) but i really thought that was so cool how you managed to do that in a way that felt natural & then get right back into the hot and heaviness later LOL and i think it’s funny cause like at one point in the series r was like it’s like spencer has sex and chaste affection on tap being able to switch between them & IT FEELS LIKE U DO TOO IN YOUR WRITING like you’re able to go back and forth so seamlessly and i think it is perfect i think you’re perfect

anyway this entire paet made me tear up 😭 i love love and everything about it just so so much and. everything about this was so so wonderful i Loved the callbacks to other parts in the series and the point that really got me is after he was inside and she said i love you to him and he just stopped and looked at her for a second because of his fantasy in andromeda 😭😭 like made me cry when i was reading that part too but seeing it here literally made me want to DIE because it’s like She doesn’t know what that means to him like she didn’t even know he was having all those thoughts about her and she didn’t know how scared and insecure he was thinking she wouldn’t love him back and he couldn’t even hear her voice in his imagination saying it to him like she doesn’t know all that BUT HE KNOWS AND WE KNOW and now that worry is gone like it was just such a perfect full circle moment and even though i reread the other chapter yesterday to prepare for this, that specific part wasn’t really the first thing on my mind when i was reading this LOL like i wasn’t reading and thinking “ok so when is she gonna say i love you” so when she said it and the connection hit me and then i saw his reaction it genuinely ran into me like a monster truck and i am serious like i physically had to put my phone down and then that’s when i started tearing up. like it was just so perfect and made my chest ache like they love each other so much i will literally fucking die Today

also when he said she was the most beautiful girl in the world and asked if she BELIEVED HIM like AND SHE SAID SHE DID like omfg the most full circle moment ever it was so perfect i just love how you incorporated all those points in so bad like that closure 🥹 and again it’s even more impressive cause this series was never supposed to have a plot LOL but i really loved the way you wrapped that in like u know how in a movie or show when they name drop the title and everybody squeals a little bit yeah that’s what reading that part felt like to me

and when they started talking about the cafe afterwards it was so sweet and lovely like reading it felt so cozy and warm and then my jaw dropped when he said lord byron’s name was ada because WHAT DO YOU MEAN like i am a self proclaimed connoisseur of the nereidprinc3ss cinematic universe as anyone who’s anyone should be and i had to put my phone down again because i reread toaster waffles for the 85th time last week and that sentence also hit me like a monster truck i’m not sure if you realize how many lives around the world were affected with that reference but i immediately knew where you were going with it and it made me cry MORE. also i need to know did u plan that from the jump when you were writing strange perfections cause that is so cool like u wrote toaster waffles ages ago and i know it’s not Really connected with dybmn but i just thought ada was a cute little name & that’s it like! like did u decide to incorporate lord byron bc u had alr chosen that name or was it just a coincidence like omfg u perfect little genius I WILL KISS U

and then the end when they both got so emotional i will DIE like it was so 🥹🥹 both of them were so sad and insecure for different reasons and now it’s. like it’s all resolved and happy and they all feel so loved and everybody gets to smile I WILL LITERALLY DIE RIGHT NOW and the way you add humor throughout is so effortless like they’re both about to cry and she’s like no more tears cause that would be LOSERISH i just adore everything about it

u are perfect and i love u i will probably be back with more thoughts later this is just my first read through but i felt so much and i loved it and i feel crazy about you spencer reid

i literally have post book depression right now LMFAO which is so crazy to say about a fanfiction series that was never even supposed to have a plot but i can’t help who i am unfortunately maybe it’s because i’m also on the last season of cm right now and all of a sudden i’m feeling Sad like wdym i do not want it to end STOP IT. but this was so perfect i love it and i love u i think u are wonderful and perfect and amazing u worked so hard on this series and i hope You love the outcome as much as literally everybody else does

& above all i really so truly hope u find the kind of love u write about i mean that with all my heart

🧸 love u

OHHHH MY GOD MY BEAUTIFUL PERFECT DARLING ANGEL FROM HEAVEN I LOVE U SO MUCH

like so much u truly have no idea seeing ur little teddy bear emoji in my inbox always makes me so happy cause ik im abt to FEAST like u always pick up on every single nuance and detail and make so many connections and it’s just so so rewarding ily

ok as for the toaster waffles/strange perfections connection, I don’t entirely remember if im being honest LOL i think it was a coincidence at first like yes ada in toaster waffles was named after ada lovelace, that was always going to be my spencer x reader’s kids name like regardless of the universe it just seemed fitting that he would wanna name his daughter after a rlly intelligent important historical figure. and then i was watching this video about lord byron and it mentioned his daughter and i was like holy shit i had no idea he was her dad and then i put it into strange perfections i think? but i wrote strange perfections so quickly and it was so unplanned that im not sure, i might have written it and then watched the video? idk i remember it feeling like more of a coincidence, i feel like i remember discovering this accidental connection i had put into the story and then tying it together in the end with some foreshadowing of the dybmn pairing eventually having a kid if that’s how u choose to perceive it but i truly don’t remember😭

anyways you’re so incredibly sweet and i love u so much u have no idea how much ur asks make my life. and you have no idea how much that last little part of ur message means to me truly:( like more than u could ever know!! you deserve all the love in the world thank you so much angel i hope you are having the best day im seriously hugging u right now 🫂 like that’s us i am hugging u so much!!!!

[grandhotelabyss]

Do you have any idea about "speculative realism" or that "object oriented onthology" thing - I was too young to be present when that was supposedly popular on the blogosphere or whatever so I still am not sure how big it was and how much it is a niche community just writting a wikipedia article about themselves. The only really big name is Nick Land, but if I know my "lore" , he was big way before. Otherwise there is that Cyclonopedia book, but it's author seems to have rejected his previous ideology. Anyways, I know this is a random question and probably irrelevant, but I dunno, guess its sad to feel out of the loop (a more funny example is "the summer of chillwave" which also supposedly was super big in music but somehow nobody talks about it, while everyone remembers way older trends with both more nostalgia, critcism, and documentation) Would also say that I think it had some other links with NRX, but the modern Thielbux meta seems to not jive with it, when he is obssessed with that Girard guy and LoTr stuff lol

It was big on the internet and made a brief splash in academe circa 2008-2010—I remember a friend in grad school trying to collate it with literary realism, trying to do a speculative-realist reading of Sister Carrie or a Jack London novel or something—but in that context in had no NRx-ish connotation, was rather part of a broader suite of "realist" anti-humanisms representing a new generation's exhaustion with the linguistic turn, the idea being to discuss the thing-it-itself as itself after all and not as linguistically constituted or socially constructed, except that the critical intent was still to decenter the oppressive subject. There was "thing theory," "affect theory," the "vibrant matter" new materialist feminism, etc., leading up to the anthropocene discourse that came later. I never got too into any of this, I hate reading theory, though I did end up doing something with affect theory in the least persuasive section of my dissertation. But I was sufficiently impressed with Harman's manifesto for "object-oriented literary criticism" (apparently just an old-fashioned formalism) to quote it twice on here 12 years ago! The summer of chillwave totally passed me by since that was the summer I had to read all the books for my oral exams. Trying to plow through The Death of the Heart and The Dialectic of Enlightenment in a few days and at the same time was not chill at all. I barely listened to any pop music in the late 2000s and early 2010s. I remember "Paper Planes" and then nothing until I was finished with grad school, when Lorde and Lana woke me from my dogmatic slumber. Anyway, yes, Girard vs. Land is the high-theory corollary of the split between the Christian populists and the tech right; Land's "realist" autonomy of capital formalized as technology is exactly what Girard's method wishes to unmask as vectors of immanent desire that ought to be pointed toward God instead. (It's funny that the two leading right-wing ideologies at the moment are just different forms of Marxism: Land the progressive eschatological futurist variant, the Marx of the opening of the Manifesto or Russia in the first years of the revolution; Girard the critical variant devoted to the debunking of ideologies, the redescription of cultural fetish objects as occluded forms of social relation, from the Marx of the critique of commodities to the Frankfurt School... But, as I said, I hate theory, and am in over my head here.)

[lxhxsxhxs]

me : writting a whole dissertation about k!lling myself for my exam

the examinator :

[askmeassignment]

Charting Success: The Crucial Role of Accounting Assignment Help Services for Indian Students

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[deutschlandsschutzhund]

Im writting a dissertation on this rn so I might aswell add what I know. The NSDAP never offically enforced any kind of vegetarianism through a policy. However a large portion of members were supportive of it or practiced it. People often assume it was just Hitler who was vegetarian but in reality it became very popular during the 1930s and 1940s due to NSDAP propaganda that promoted it as a healthier and more ethical alternative to eating meat. This even lead to a 17% decrease in meat consumption in Germany by 1937. As for Hitler, he "officially" became vegetarian in 1938 for health reasons but based on chemical analysis of his mandible and the tartar of his teeth from 2018 its pretty safe to say he was vegetarian for a large portion of his life.

Göring is a massive exception though (pun intended) because he was one of very few politically significant NSDAP members who supported hunting and meat consumption.

I knew that the reason why they had, at least a good builded body (let’s say) was from the Great war. But i also heard that in the early years of the N.S.D.A.P, they forced the members to have a strict diet or even make them be vegetarian too, is this true or was it a random rumour?

I've not seen any information about that. There were a lot of bigger men in that era, Röhm and Göring for example.

There isn't any proof about Hitler being a vegetarian back then either. Most historians that I've seen claim he didn't become an actual vegetarian until somewhere between 1938 to 1942, depending on who the historian is. That didn't mean he ate meat on the regular, however. It might have been propaganda earlier. Nobody seems to be able to pinpoint or prove anything.

According to people that survived after the war, he did describe the slaughter of animals quite vividly.

[bartholomewillustrated]

HAPPY 1ST ANNIVERSARY RESIDENT EVIL VILLAGE!!!

Of course here I come stumbling in two days late sdfhsdfh.. my excuse is that I didn’t really get into the game until a few days after release so it’s like.. My anniversary (but we all know i just made a snap decision to try and throw something together saturday afternoon and it took me two days to complete >///<)

This game means a truly Indescribable amount to me, just as a media property that I enjoy and makes me feel good and happy inside;

but also as like.. the thing that gave me my art back, that introduced me to new amazing people who I've (at least started.. I'm still working on this whole social skills thing) formed friendships with, it's given me the chance to finally begin to build an audience after 10 years posting my art online, like.. Fuck this game has even helped me improve my internal relationship with myself and has given me a way to like.. address some stuff I had been ignoring for Far too long… which is perhaps a bit personal but like!!! that's the point!… Kinda! This game really walked right up to me and just rooted itself and its nasty metal man in my gay little heart!!

The point, really, is that this game is super special to me and I love it to bits and back, so…

Here's to the first year past and to many more in the future!

Thank you all for joining me on this wild journey, (seriously you've all been so amazingly kind and encouraging and I don't think I can state how important reading your comments and seeing your likes/reblogs has been to me over this last year, thank you thank you from the bottom of my heart) I hope you can continue to enjoy my work, both for village and beyond, and ho boy there'll be plenty more village to come!

[thoughtsickles]

Tv shows will be like “this is my character who embodies the pure spirit of American heterosexual masculinity” and end up just creating a closeted gay

[ethelbstokes-blog]

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[hopeless-renassiance-blog]

Best dissertation writing services

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[rosieella-blog1]

Best Custom dissertation writing services In United Kingdom

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[knowledge-bull]

https://knowledge-bull.com/how-to-write-a-dissertation-unmatched-tips-for-quality-writing/ #writting #writtingskills #writtingtips #writtingstyle #quality #qualitywritting #unmatched #tipsandtricks #howto #dissertation #dissertationwriting #dissertationproblems #dissertationhelp #dissertationmotivation #dissertationresearch #dissertationwritinghelp https://www.instagram.com/p/CSLro8GlU-u/?utm_medium=tumblr

[judeswhore]

Jude gf is a scientist who spends days writting dissertations and devoted to science and is very simple and shy so she gets insecure about the girls who slides into his dms or hits on him.

he’s always reassuring her that she’s who he wants and he’s not interested in anyone else. is always hyping u up abt how smart u are and says it’s one of his favourite things abt u and it just makes u extra hot

[wecantseeyou]

a word on color - how line of duty series 6 uses wardrobe color to frame narrative (pt 4)

Author’s note: this is the conclusion to my essay on wardrobe color and how it’s used to inform narrative in series 6 of line of duty. Previous parts can be found here: Part 1, Part 2, and Part 3. This part covers episodes 5, 6, and 7. Heads up, my analysis of episode 7 is actually quite short because of my focus on Jo, but I have many, MANY thoughts on Kate’s second to last scene and the general wardrobe choices for Kate in this episode.

Thank you to everyone who has been willing to entertain my ramblings here. While I have a background in theatrical production, this kind of meta analysis was quite new for me. I was relieved to see (most) of this theory actualized in the finale. Now, this part is nearly 8k words, all four parts together clocked in at over 20k words and nearly 40 pages, single-spaced, so I’ve officially written a third dissertation (after the other two took me 10 months…). 

Regular warnings apply: I’m American and therefore may be missing certain cultural context. Spoilers abound, but I stick to Jo’s storyline for the most part, and don’t include my thoughts about the finale writ large (I may write an analysis of the series 6 storytelling separate from this, if there’s interest).

Read on below the cut.

EPISODE 5

Episode 5 opens with Lomax briefing Jo and Kate about connections between the armed robbery and Gail Vella's murder, showing them results for an industrial estate that matches the description given by one of the robbers. Jo is wearing the same outfit she ended episode 4 in, the orangish brown sweater and navy suit, while Kate is wearing a grey jacket over a white shirt, buttoned all the way up. A side note - this grey jacket does not fit in with the rest of the wardrobe Kate has been in all series, and from a meta perspective, this is because they have to conceal the firearm Kate is now carrying. Ryan watches from the other room, again in a call back to the way Jo was watching Kate in episode 3.  Kate tries to talk to Jo, but she's quickly brushed off, much to Kate's chagrin.

Jo’s outfit, which we’ve seen her in numerous times, again demonstrates her pull between what’s right and pressure from the OCG. After all, Ryan has just threatened her twice. She knows that the investigation is heading in the right direction, which she both wants and is afraid of, and she is panicking. At the same time, she’s wary of letting Kate get too close lest she suspect something and acts on it, putting them both in danger.

Kate’s outfit actually shows some of that forced distance Jo is causing. We’ve seen her wear a white shirt buttoned all the way to the top once before - when she spoiled the raid of MIT by AC-12. That outfit showed her pull between Jo and AC-12, and we’re seeing that here again. This time though, the grey jacket shows that she’s leaning AC-12.

We see this in the next scene where Steve, in his grey suit with a white shirt and red tie, is directly paralleling his former partner’s wardrobe. Kate visits AC-12, and it's been revealed that she has permission to carry a concealed firearm because of the threat Ryan Pilkington poses. Now, call me crazy, but I believe we’re meant to understand he’s a threat to her at least in part because of her relationship to Jo, but I’m uncertain. When Ted asks for an update, Kate notes that Jo has become "cold and distant" toward her, and the team reveals Jo has been put under surveillance, which Kate isn't happy about. It's then revealed that Jo is related to Tommy Hunter (from series 1 and 2) through incest, which is of course horrifying, though we don’t know the full story of it quite yet.

Back at her apartment, Jo checks the laptop to find out the OCG won't let her go because of AC-12's continued investigation, which she promises to take care of. She’s surrounded by her blue flat, in her navy and orange outfit, her actions and heart still at conflict with one another. She’s distraught, and stuck.

Later, Kate and Steve meet in an underground car park in their matching navy coats. Steve shares that Lakewell gave him information off the record, which is that Gail Vella had been looking into the death of Lawrence Christopher at the time of her death. He also tells Kate about his discovery that Hastings gave Steph Corbett the missing $50k of supposed bribe money (from series 5). The former partners match here because they are coming closer to being full partners again, working in tandem and trusting one another with information. They have been at odds this series, particularly when it comes to Jo, but they have remained on the same page in their disappointment in the gaffer and belief in finding justice for Gail Vella.

Back at MIT, Kate is looking into the industrial parks that may hold an OCG workshop.  As she researches, she repeatedly looks over at Jo in her office and seems to have an idea. She then steps out of the office and calls Steve, though we don’t see the details of their conversation. Kate returns to the office and goes into Jo's office, telling her that they may have found the OCG workshop. She asks to brief the team immediately to avoid leaks, which Jo allows while glancing out at the bullpen. We can see once Kate leaves that she was looking at Ryan, who is watching her closely.

We don't know it yet, but Kate has found a way to test Jo’s loyalty and her belief that Jo isn’t bent. She tells the team about 1 location, makes them hand up their phones (which pisses them all off), and Jo makes them all stay within the MIT offices just as Ryan is about to step out. As the briefing ends, Kate goes to Jo’s office once more and demands to speak with her, despite Jo’s rude and annoyed response.

It’s later revealed that Kate then tells Jo there are 3 total locations to be looked at, but they’re starting with just one. Meanwhile, AC-12 surveillance teams are stationed at all three locations to see if people are tipped off and by who.

In these scenes, Kate is wearing a navy suit with a light blue shirt buttoned to the top, while Jo is wearing a grey suit with a grey turtleneck. For both women, the high necklines that fully encircle their throats indicates their discomfort and their desire to have a wall up for their own protection. We see Kate in all blue as she’s on a crusade to prove the truth - Jo isn’t bent, and this will reveal who is (as she suspects Ryan). Jo, meanwhile, is uncertain, and her monochrome grey outfit reflects that. Normally, this is the type of thing she would be expected to tip off to the OCG (as she did with Carl Banks), but Kate has cleverly made it so she can’t. She’s trying to push Kate away, but Kate keeps pushing herself right back in. She’s meant to be wary of Ryan, but she stopped him from an opportunity to send out a warning - and that’s before she knew there were three potential locations. All Jo knows is that she wants out from this lie and constant threat she’s lived under. She’s in all grey, not true blue but certainly not a warm tone, because she hasn’t decided what her next step is yet. Temporarily neutral.

The initial raid is not a success, so Jo informs the team that they'll move on to the other locations instead, revealing that she and Kate did not give them all of the information. Lomax is pissed off, and directs that anger at Kate. From his perspective, the boss just told them she doesn’t trust him or the team and treated them all like a potential rat, and he chalks that up to the former AC-12 officer’s involvement. In an interesting parallel, Jo and Kate are wearing the same outfits under their body armor that we saw them in during the raid in the first episode - Jo in her black jacket and Kate in her green jacket. 

During this raid, Ryan snuck out to call in the danger to the OCG from a burner phone, an act which was recorded by Chloe “the only real detective” Bishop. Steve, at the real OCG workshop, rushes in with his team which results in the deaths of two suspects. Jo and the MIT team arrive on the scene not long after, and Jo and Steve come to disagreement over jurisdiction, and she ultimately forces him to stand down using her rank (which we’ll see her flex once more later in the episode). I have to say, I have loved watching Jo and Steve come to blows in this series in part because Jo is so much better at it than he is. Steve truly has been Jo’s foil, contradicting her at every point. We see this even in their clothes in this scene. While Jo is wearing a grey turtleneck (typically in the AC-12 color palette), it is hidden under her black jacket, and Steve is wearing a blue shirt under his body armor. On the visual face, they appear to be working at opposite ends to one another, and in this moment they are.

Back at AC-12, Kate debriefs the team on what happened and let's them in on the honey trap* (*not really) Kate set for Jo, which she didn't fall for (but Pilkington did).  The team is taken aback, and Hastings points out how risky a move that was. "As far as I'm concerned, that's proof she's not bent," Kate replies, stubborn to the end. Steve has a different interpretation - Jo assigned herself to the raid on the location with the workshop, and took control of the crime scene from him. "That doesn't fit with what I've witnessed firsthand. I needed to know one way or another."  Kate will not back down from her staunch belief that Jo is not bent, an unfortunate foreshadow to Jo’s eventual betrayal. Hastings sides with Steve, but Kate clearly still disagrees. However, Steve does believe Ryan should be removed from MIT, even as Hastings wants to keep him there. This raises their suspicions because Kate had originally talked the gaffer out of bringing Ryan in, but the reality of the matter is that Ted feels he’s on a ticking clock with his forced retirement, and wants to handle this fourth man situation before he goes. 

Kate and Steve are again in coordinated outfits here, dressed head to toe in blue. We’ve seen this before, the former partners in clothes that parallel one another while seemingly at odds. Sadly, this is because they’re again both right about Jo. She is using her position (and even Kate’s trust) to manipulate the investigation, but that manipulation stems from fear for her own safety as she herself is being manipulated and doesn’t want to do what she’s done. She’s like a cat stuck in a box - bent and not bent.

On the Hill, Kate gives the team the low down on the OCG warehouse and their next steps. Jo congratulates the team and tells them to get to work collecting forensic evidence while Pilkington sends laser eyes her way. This time it’s Kate wearing a turtleneck, this one in black under an olive suit jacket, while Jo wears a grey suit with a grey-green sweater and a blue shirt buttoned all the way to the top. Again, the high necks of these outfits demonstrate the discomfort and reservedness both women are feeling, but we also see a subtle connection with the green tints of their clothes. As usual, green represents the pull between two different compelling interests. For Kate, the pull between Jo and AC-12, for Jo the pull between Kate and the OCG. 

Wearing these same outfits, Jo catches up with Kate outside of Hillside, where she confronts her about AC-12's knowledge of the raids. Kate tells her she tipped them off because they're making a lawful inquiry. "Look, I'm telling you the truth Jo, because I trust you with it." Jo takes advantage of Kate sharing the information with AC-12 and tells Kate to put in a transfer request, saying, "I wouldn't want to harm your career, Kate. It's best if you request a transfer." Kate is taken aback and asks "You've been distant with me for days. Is this personal?" Jo denies this, pulling rank the same way she did with Steve, "I'm your senior officer, I should be distant." Kate seems confused and concerned with her response of "But I thought we were friends. What's happening here?" And here we see Jo’s fear crack through her irritation, just for a moment, when she says, "So you can tell AC-12?" As much as Jo is pushing Kate away in order to get her out of the picture, she also has a real fear that Kate continuing to share information with Steve will get Jo killed. She’s playing up Kate’s betrayal to explain her anger, but she’s also hurt and she wants her to know that. Jo trusts Kate, even if she doesn’t trust her enough to tell her the truth on her own. Up until this point, Kate has worked with her and told her about AC-12’s work, even helping her get a leg up on Steve. Now Kate’s helping AC-12 get a leg up on her.

But Kate is nothing if not determined. "No, I wouldn't tell them personal stuff." Kate refuses to take the transfer, and Jo leaves in frustration and anxiety, leaving Kate confused yet again. 

Back at Jo's flat, she's on the OCG laptop again. She tells the user she can handle AC-12, but they claim she can't because of Fleming. Jo tries to ask for more time to sort it, but time's up. "Get rid of her." Get rid of Kate, the last person Jo trusts, the one who just broke her trust.

And here is Jo’s betrayal. "As long as it's my last job." She looks devastated after she sends it, and she is. What she’s about to do is unforgivable. But scared and vulnerable people often do unforgivable things to save themselves. Jo just wants to be free, and she’s willing to pay a price for freedom. 

Steve, in his iconic grey suit and navy tie, goes to visit Ian Banks in prison and learns that Ted is the one that disclosed John Corbett's identity that later got him killed. He later calls Kate to tell her the news. Matching Steve, Kate is in a navy shirt, but is wearing a black suit, only the second time we’ve seen her in this suit. The first was in episode 2, when she gave Jo the information about AC-12 and they later had dinner together. 

Kate heads back into Hillside after her conversation with Steve and runs into Jo in the hallway, who asks to meet with her outside of work to discuss their 'personal issues'. Jo specifically looks at officers further down the hall to confirm they're leaving before speaking to Kate. She also lowers her voice at her own mention of personal issues, adding an extra layer of privacy to an already empty hall. 

Checking to make sure there alone is something that Jo and Kate have done frequently throughout this series. In the handhold scene, they break apart when officers step into the hall. They mention how it’s easier to talk outside of work during both of their dinner scenes. When Kate tells Jo about Ryan’s spying, she dismisses Chris first, and later in that conversation when Jo puts her hand on Kate’s arm, they pull apart when they hear officers approaching. 

Kate is surprised at Jo’s sudden change in behaviour from the past few days, but she agrees to meet with Jo after work. As Jo walks away, Kate clearly knows that something is up with her, but seems willing to find out what it is when they speak.

What Kate is sadly unaware of is that Jo walks away to lock herself in the bathroom and have a breakdown, distraught at the machination she has set in motion against Kate. Her hand shakes as she locks the stall, she falls to the ground, she looks around desperately for salvation. Jo’s mask, one that she maintains so strictly, falls for just a moment (not dissimilar to her breakdown in her car after framing Farida). Thirty seconds in a toilet stall to breakdown, to think about the consequences of her actions, about what she’s done to Kate. But she takes a few deep breaths, wipes away her tears, and we watch as her mask slips back into place.

Back at AC-12, Chloe “my back is worse than Steve’s from carrying this investigation” Bishop has uncovered more about the racist gang that attacked Lawrence Christopher, including the investigators, Buckells and the current Chief Constable. This was the story Gail Vella was looking into when she was murdered, and appears to be the reason for her death. Steve is wearing the same grey suit and navy tie as when he spoke with Kate, and while he’s grateful for Chloe for digging everything up, he’s also concerned that the young Black woman had to learn so many details about the lynching of a young Black man. [Note: to be incredibly clear, the death of Lawrence Christopher as described by the script was a lynching, and the narrative did not do enough to reckon with that fact for anything more than relevance to the global racial justice uprisings reborn in late May of 2020. More than willing to discuss this further if anyone cares for my thoughts.] As they discuss the case, Patty Carmichael walks in with gusto (and damn if that voice isn't an incredible acting choice). She’s taking over AC-12, and she’s cancelling the surveillance on Jo and Ryan.

That night, Kate arrives at Frederico's to meet Jo, who calls her the moment she’s locked her car to ask to meet somewhere less public, for claims of privacy. Kate is immediately on alert, especially after her attempts to convince Jo to stick with the original plan. But after a small plea from Jo, she acquiesces, but not without caution. Kate immediately knows something is off - this is not how Jo interacts with her. Little do we know, Pilkington is skulking in Jo's backseat, coaching her actions.

As an aside, this is also the only time we see them meeting out of work while they're both wearing casual clothes, not just the clothes they wore to the office. 

Kate drives to the lorry park and calls Steve, because she's both an idiot and a genius. He’s wearing the same suit as before, grey with a navy tie. She learns that surveillance was pulled on Jo and Ryan, and explains Jo's odd behaviour, forwarding him the address. Unfortunately, their conversation is cut short by Carmichael, which immediately sets Kate on high alert and she ends the call. Just as Kate is about to leave, Jo pulls into the lot, and the tension escalates.

Steve receives the address and immediately informs Hastings and Chloe, ordering the team to get a unit ready. The team starts to rush out and Carmichael asks for calm, which Ted isn't gonna do when one of his people is in danger. AC-12 isn’t about to let Kate down.

At the lorry park, a distraught Jo gets out of her car and approaches Kate’s car. Kate tries to convince Jo to go somewhere else, but all Jo can say is that she's sorry. Kate is confused, but that goes away pretty quickly once an armed bent bastard steps out of Jo's car. He gloats to Kate, saying "Jo wanted to give you a way out. Should've put in for that transfer." Kate tries to convince Ryan to put the gun down, that the authorities will find him, but it doesn't work. Which is when Kate makes a gamble - she tells Ryan about the surveillance on him and Jo. Ryan tries to blame Jo for their situation, but she acts none the wiser (even though Kate told her about Ryan’s surveillance in the previous episode).

"Why would she come here otherwise?"

Sure, Jo is playing down her relationship with Kate for Ryan’s sake, but it isn’t quite that simple. Jo doesn't want to believe Kate had any faith in her. She wants to believe she was pretending, because she has no faith in herself. Her reaction does provide enough of a distraction for Kate to be able to pull her own weapon, and the most tense standoff ever begins...

One of the most key color choices of any outfits so far on the show are the clothes Jo and Kate wear to the lorry park where Jo sets up Kate to be killed by Ryan. Jo is wearing her grey coat, a blue sweatshirt, and a red top. Kate is wearing a blue coat, and a blue striped sweater with a band of red in the middle. These two outfits are ultimately the thesis statement between these two women. Jo is wearing red as her last layer, the one closest to her, but is surrounded by cool tones through her sweatshirt and coat. Meanwhile, Kate’s sweater has a stripes of red and orange surrounded by shades of blue. 

But it doesn’t matter that Kate is being visually connected to Jo, because Jo is about to be responsible for her death via Ryan ‘the bent bastard’ Pilkington.

EPISODE 6

Nevermind though, no death for our beloved Kate!

Now, I’m going to take the next parts of the episode slightly out of order in order to tackle Kate and Jo together before their ultimate confrontation with Steve and AC-12. First, a run down of the AC-12 crew: Hastings is in full uniform, which represents his ultimate faith in the system, despite the bad actors and groups that try to destroy it. Carmichael is wearing a grey coat, aligning her with anti-corruption, but it’s piped along the edges with red, which shows how she’s opposed to AC-12 (though not necessarily corrupt). Steve is in his classic blue on blue on blue under his body armor, which shows his dedication to justice and also his faith in Kate. Carmichael confronts him directly about Kate’s whereabouts, which he fastidiously denies having any knowledge of, but unfortunately Hastings is forced to admit that Kate was permitted to carry a concealed firearm for safety. Steve doesn’t trust Carmichael, and this is shown back at the office when he tracks what Patty C is up to, mobilizing Hastings when she’s on the move.

At first glance, Kate and Jo’s red and blue outfits read as a visual metaphor for AC-12 closing in on their location, but I posit that these outfits are also indicative of Kate's belief in Jo, despite her anger that Jo has just set up her death. It’s clear at this point that their simple flirty banter from the beginning of the season has evolved into a deeper connection, which is part of what makes Jo’s betrayal so painful - Kate has been on her side the whole time. Jo just didn’t know it. [note: wrote this before the finale so guess who has egg on her face now…]

After a time jump (of nearly two hours, based on someone else’s analysis of time stamps and radio calls), Kate and Jo arrive at Steve's apartment. Jo asks if Steve can be trusted, and Kate leaves no doubt. Jo also asks why the surveillance got pulled, and Kate informs her about the chief and Carmichael. Jo denies having any part of it, but Kate isn't sure if she can believe her given the whole, you know, attempted murder thing. In a desperate bid to prove her loyalty to Kate, Jo asks for her gun, intentionally putting her prints on the murder weapon. Again, their coordinating outfits are the outward manifestation of their connection. Kate, while still angry, seems to accept what Jo is offering to her, but is clearly trying to maintain distance in the moment.

Jo then tries to see if things between them were real, but Kate refuses to entertain the conversation. What Jo is completely unaware of at this point is the lengths to which Kate has gone to prove that Jo isn't bent, up to and including risking a crucial raid on the OCG workshop. To Kate, it's a question that doesn't need to be asked, [the egg on my face remains] but Kate is also in disbelief that Jo would question her feelings when she's the one who was nearly killed by Jo. It’s an inappropriate time to have this discussion, and Kate lets that be known. They find Steve's personal car, a slate grey Mazda because this show is nothing if not subtle with its vehicular choices - even their personal vehicles tie in to their allegiance with AC-12’s mission.

Driving in Steve's car, Jo asks again if Kate was pretending with Jo, and Kate diverts the conversation away from herself. Was Jo lying to her when she hired Kate because she was ex-anti-corruption? No, she was hoping Kate, with her anti-corruption background, would stop her. Would save her, really. They discuss Jo's ongoing work for the OCG, and Jo's fear that she'll be killed if she turns, just like Tommy. She insists that she's not bent and Kate implores her to prove it.

Kate is pissed [for the non-Americans, she’s very angry, not drunk…] in this scene, as she should be. She believed in Jo, she still believes in Jo, but she betrayed her in a major way. And now, when Kate is sticking her neck out for Jo again, she's still too scared to reveal what she knows. Jo does reveal that Tommy was her uncle, and that her father was a bent cop, which of course doesn’t align with what Kate knows. At Kate's further insistence, Jo directs them toward Gail Vella's house, and finally to the old print shop the OCG had used in the past that is across from Terry Boyle’s flat.

Kate and Jo arrive at the print shop, and Jo is finally about to reveal the truth to Kate. This act, coupled with putting her prints on the gun, earns Jo back a little bit of the trust she lost, and this is shown when the two women share the same shot. Most of the scenes between Jo and Kate have been over the shoulder shots where one woman is the primary focus, and this scene pivots to end with both of them together as the focus. This change happens in time with Kate dropping some of her much-deserved hostility toward the other woman.

But before they can step out of the car, flashing lights and sirens appear behind them - they've been found. The fact that they've been tracked shocks Kate, but she spends no time dwelling as she throws the car into drive and speeds away. AC-12 AFOs have set up an intercept point, which Kate ignores in a truly badass handbrake turn, no matter if it makes any sense that they could have possibly known the route Kate would take in order to set up a kind of road block.

Handbrake turn or no, the Mazda has been intercepted and Kate and Jo are stuck. Kate is still confused that they've been found, but Jo knows the jig is up and tells Kate she's going to say she forced her to drive. It isn't until Jo tells her they have no other choice that Kate gets out of the car. Once out, Jo puts her hands up, but Kate refuses. Just then, AC-12 arrives with Carmichael, and Kate is in shock. "Jesus Christ, Steve's in on it" - cut to Jo's panicked face. This is the man Kate said they could trust, and now he's after them too.

What follows is a very tense standoff between the two fleeing detectives and AC-12. Jo surrenders, but Kate refuses. First Carmichael tries, then Hastings (at which point Kate tells Jo she learned some shady stuff about him), and then finally Steve walks up to them. Jo begs Kate to surrender repeatedly, but the DI believes she’s onto her second major betrayal of the night and she isn’t willing to give in that easily. She thought she could trust Jo, and she nearly killed her, and to her mind she trusted Steve and he turned her over to Carmichael.

Kate is prepared to tear him a new asshole, but he swears up and down that he has no idea how they got tracked, he wouldn't do that to her. Once he promises to get the two women into safety, Kate surrenders. As he walks them in, Kate shared Ryan's confession of murder and Jo's clue about the print shop. To the end, Kate believes in justice and will pursue it.

We then see a disillusioned Kate in her all grey Fruit of the Loom being walked into her jail cell. She sits down on the plastic mattress, looking at a total loss.

Later that night, Steve and Hastings are discussing the events of the previous few hours. Steve is in a grey suit with a blue shirt and tie, same as he had been wearing during the chase. The gaffer questions why Steve didn't tell him about Kate, and Steve claims it was to prevent putting him in a difficult position with Patty C, who walks in with the same question. Apparently, the former partners have keys to each other's houses and vehicles, in case of emergency. Carmichael taking Steve's phone would've read to Kate as an emergency. Steve refuses to back down, and she appears to drop it for the moment.

Now, onto Jo’s interrogation. A lot happens in this thirty minute scene, but to boil down to the important points: Jo is wearing her best Fruit of the Loom, stripping her of her identity and any affiliations she has. The lighting in this scene is cold and sterile, completely cool in tone. Steve sits with Carmichael and Hastings on the other side of the table, dressed in a navy suit, white shirt, and red tie.

Something very important to note in this scene is Jo’s reliance on Steve. He speaks with her gently, acknowledges her pain, and encourages her to be truthful even when it is clearly very difficult. She takes Kate’s trust in him at face value and decides to trust him too. His outfit actually reflects this truth. He’s wearing the same red and blue that Kate and Jo wore while they were on the run - blue surrounds the red. As much as Jo is trusting Steve here because of Kate, Steve is being kind to Jo here for the same reason. His partner and friend does the right thing nearly always - if she was willing to go to these lengths to defend Jo, he owes it to her to learn the truth. Nothing exemplifies this more than when the conversation turns to Pilkington’s death.

Jo refuses to answer at first and actually waits for AC-12 to show its hand first. She notices that Steve hesitates when Carmichael instructs him to talk about the evidence regarding Kate's gun, and she realizes this is her in, this is how she can prove herself to Kate once and for all. It's only after this that she claims to have shot Pilkington and completely shifts the blame from Kate to herself. This catches both Steve and Hastings up, and they react in obvious shock, which changes how Hastings treats her through the rest of the interview and cements Steve’s belief in Kate’s trust. Afterwards, she looks to Steve, who nods. He understands what she just did for Kate, and Jo is relieved to see his comprehension. The questioning continues, and Jo only admits to what she can take direct responsibility for, but nothing that involves the larger network.

Once Carmichael and Hastings leave, she quickly turns to Steve and says a desperate "I'm so sorry." Sorry for hiding evidence in Operation Lighthouse. Sorry for framing Farida. Sorry for what she’s done to Kate.

And Steve, gentle when he can be, gives her a kind "Yeah, me too," in reply. I’m sorry you were groomed into the OCG. I’m sorry you were scared for your life. I’m sorry you hurt Kate, too.

Patty C goes to talk to Kate, and lets her know she won't be charged for Ryan's murder - Jo will be. Kate has a look of relief on her face as she processes the information. But Patty C notes Jo isn't firearms trained, and Kate is. She's telling Kate she knows what really happened, and she's letting it slide. This time. Kate is well aware that Carmichael isn’t stupid - she knows Jo was lying and is only letting Kate get away with it because it better serves her interests. Kate is free, and she sighs with relief and the knowledge of what Jo did.

Steve, still in the same outfit from the interview, and Kate, in a navy pea coat and yellow sweater, meet in an underground car park. once she's been released. A quick note on Kate’s coat: I’d love to say there’s a deeper meaning for the shift in her coat, but I genuinely think it’s just because filming was originally in the spring, then was moved to the fall and continued until November, so it was simply colder. The cut and color of the coat are generally the same, despite the style changing.

Steve offers to lend an ear about the shooting, and then Kate asks about Jo's interview. Steve tells her they didn't get enough information out of her, and Kate tells him that Jo told her that her dad was an officer. "She's scared, Steve. After what happened to Tommy, Dot, Lakewell, nevermind John Corbett". Kate’s anger seems to have dissipated at least a little at this point, because here she is, defending Jo by explaining why she wasn’t forthcoming with a lot of information. This is most obvious through her yellow sweater - still affiliated with Jo, even through everything else. Steve lets her know that Jo is in a secure cell with extra monitoring, which seems to appease her. Kate then informs him she's been made SIO at MIT, and will guarantee cooperation with AC-12. Lomax calls Kate, and the two partners are back working together.

Kate and Steve meet Lomax at the OCG workshop, where he goes over the forensic findings so far as MIT’s resident plot reciter. Kate tells him they need to look further, and orders him to dig up the floor, ruining the poor man’s plans for the evening.

Chloe calls Steve with an update on Thurwell. Then we get a weird scene of darkvision Spanish police apprehending Thurwell. Truly hate it. He's dead. It's a deadend. Clever writing, Jed.

The episode ends with Jo in her navy blue jumper being put into her cell at Brentiss. Tweedle Dum and Tweedle Dee, Lindsay Denton’s besties, walk up threateningly before Jo is led into her cell and the door is shut. I do love the shot here of Jo through the door, caught in a small tight space that’s almost closing in on her.

EPISODE 7

Before I fully jump into Episode 7, please be aware that I am doing a textual analysis. I’m not going to go into the fourth man reveal and its logic or even greater meaning (particularly because I’m looking at this show from a different political context as an American), and I’m not going to speculate on things not seen, at least in this analysis, because the focus is on wardrobe. You can trust I have many thoughts, particularly around race and the writing around female characters, some of which I’ve included but most of which I did not. It took me 9 full days to write everything for this one episode, and was shockingly exhausting. Forgive me if it doesn’t live up to my other ramblings.

We’ll jump right into things. I'm gay but Steve looks so good here in his AC-12 uniform. Anyways, Steve is watching Hastings' old interview with Carmichael about Ian Banks. His concern about Hastings is clear. He’s in pursuit of justice, even if justice puts him up against the gaffer.

Later, Steve and Kate discuss the gaffer and his suspicious behaviour, and he informs her that Ted is slated for retirement. Steve wants to let it go, but Kate refuses. She asks if Steph Corbett knows anything more, and suggests she may be blackmailing Hastings, but Steve is dismissive of it. This causes Kate to raise an eyebrow - oh god Steve's done it again. Steve pleads "It's not like that, mate, it's different," and Kate has never looked more disbelieving and annoyed. She responds, "She's a person of interest,” and their conversation is cut short when Chris calls Kate with an update. Steve is still in his navy suit, and Kate in her yellow sweater. The lack of coordination in these clothes show Kate isn’t quite on the same page as Steve yet, but they’re getting there.

Lomax tells them there was a case found in the floor of the workshop, much like the one holding Gail Vella's computers at the abandoned print shop that Jo led them to. No comment on the OCG’s evidence techniques.

Steve, who kept skipping his occupational health warnings, is in therapy. I didn't cover the OH stuff throughout this analysis since it didn't relate to Jo, but this manages to tie in later so here it is now. It ends in him agreeing to temporarily give up his firearms license. I'm not going to discuss the rest of the meeting, given that Steve seemed to kick his pill addiction and reliance on alcohol and pain relievers to deal with his back pretty damn quickly and it's a storyline of entirely no relevance except as something Ted holds over Steve in a moment of manipulation later. Steve also admits this to Hastings before Occupational Health can tell him. This entire storyline is frustrating. Moving on!

Kate is watching Jo's AC-12 interview at her desk on the Hill, specifically rewinding to parts concerning who Jo believed her father was. She pauses it on a frame of Jo’s face, the terror clear. Kate is dressed in a black suit and a light blue shirt, back on the side of AC-12 and in pursuit of justice, not only with regard to the OCG, but for Gail Vella and Jo.

Steph calls Steve again, and he ignores it, because he's being a bit of a dick. Then he steps out of his car and has a back spasm. This only comes up so Kate can ask about it later and show that Steve, wearing a blue jacket, listened to what she said about getting close to a person of interest. Would truly love to know why Steve parks by an underpass by a river for this scene, but needs must, I guess.

Back at Hillside, another Lomax briefing! Because Chris, Chloe, and sometimes Kate are truly the only people who do any detecting in the entire series!!! Anyways, Chris tells Steve and Kate about the contents of the box under the floor of the workshop. Conveniently, it held four murder weapons (can Jed Mercurio spell deus ex machina?) and neatly tied a bow on Corbett, Bindra, and Vella's deaths, and in a nice series 1 throwback, Jackie Laverty's murder! Kate is wearing a grey turtleneck which coordinates beautifully with Steve’s grey suit, blue tie, and blue shirt. This shows that they’re back on the same page and on the same team, despite their ups and downs this series.

Kate and Steve return to AC-12, where Kate in her new navy pea coat shares that the proceedings against Terry Boyle will be stopped. Except, to my knowledge, Jo already handled that...? They literally made a point of it in her interview. Anyway, Chloe, like Chris, did all the detective work and tells them that the IP of the OCG laptop is in the UK, not Spain as previously believed. Amanda from forensics, the only other person who does any real work, interrupts with a message that shows Jo is about to be targeted. Definitely is spelled wrong. I give up. They feel the need to spell out what JD and BP mean, but spend 3 episodes never explaining what a CHIS is. Sure. Chloe is tasked with finding the fourth man via spelling.

Also I'm truly not being funny by why is Kate on the investigation board in AC-12. Like. What. Was she a suspect? She’s not with the other victims!

A very forlorn Jo in her blue Brentiss jumpsuit is sitting in her prison cell before being collected for transport to Hillside. Jo is very aware that something must be wrong because she’s a damn fine detective. She's mad suspicious as they head out to the van, and lo and behold, Tweedle Dee and Tweedle Dum are on the transport team.

En route to Brentiss, they learn that Lomax and Kate's signatures were forged on the production order for Jo. Meanwhile, Jo is too smart for her own good, and questions the guard during the transport about the requesting officer. Tweedle Dee plays dumb.

And then… nothing happens. They intercepted the van in advance, removed Jo, and planted Steve and Kate on the van. Because Steve is such a great choice what with his being an UNARMED OFFICER AT THE TIME. They arrest everyone.  Steve ends up with a gun. Ok.

In an interrogation room, Kate and Steve explain what happened to Jo. Hastings looks on. Kate tells Jo she can apply to witness protection, and that all of her notes will show that she was under coercion from others, giving her a shot at the life she never had, but only if she reveals who the top man is, aka her father. Jo begins to cry, and Steve reminds her those OCG men were sent to kill her - this man doesn't care for her. Jo begins to tell them that she had no reason to believe Tommy was lying to her, all while speaking only to Kate. Steve encourages her further, telling her she's not bent. Kate asks her one last time for the name, and we see Jo resolve to say something before the scene cuts. Heaven forbid we show something happening instead of faking built suspense.

Now, I need to pause here for a small moment of rage. Kate should have been the one who got the call back line by telling Jo she's not bent. Not for any romantic reason, but because their little run from the police stunt was done at least in part under the auspices that Jo could prove to Kate that she wasn't bent. In fact, Kate pleads with Jo to do so. It's just frustrating, and gives Steve an emotional beat he hasn't truly earned with Jo, or at least hasn’t earned as much as Kate.

And Jo gives them a name! They search a prison cell, and find nothing. It's really built up to seem like it's Fairbank, who is revealed to be a confused old dude. Why Jo thought she was communicating with him this entire time is simply never addressed. Whatever. They ask about the murders and cover ups, and he offers nothing. Kate asks about Jo, and after some more pushing, Fairbank implicitly agrees that he and Tommy Hunter convinced Jo he was her father.  Hastings is pissed, but Chloe calls to save the day (again).

Chloe "I should be Chief Constable" Bishop brings the team up to speed on the text search for incorrect spellings of the word definitely. Which they've apparently managed to do in a matter of hours, even on handwritten reports from 17 years prior! Because Jed has definitely never needed to do a text analysis by hand before. They then proceed to NEVER NAME THE SUSPECT. FOR 1 MINUTE AND 10 SECONDS.

Oh but don't worry, because this is the perfect opportunity for our realigned partners to confront Hastings about the bribe money and his conversations with Ian Banks. Can't reveal who the fourth man is when the head of the investigation is also a bent cop, silly audience. And it's revealed that Ted leaked Corbett as a UCO because of Corbett's role in the attack on Hastings' wife. But it's okay because he's sorry about it!

To be hella clear: Hastings, an anti-corruption officer who prides himself on following the letter of the law, took actions he knew would result in the death of John Corbett and Kate later forgives him for it. Jo was under threat of death from the OCG and tried to get rid of Kate via transfer and then led her to an empty lorry park to be killed while she thought Ryan was under surveillance that could likely intervene, and we in no way see Kate react to that experience in this episode. Cool!

Finally, we get the interview with the fourth man, which is revealed 8 minutes and 32 seconds after the characters themselves learn the information. For some reason unknown to God or man, Kate is there despite not being involved in Buckells' case since she works for MIT, not AC-12. Frankly, not gonna delve into it. Kate is wearing a sweater we've yet to see her in, a blue crew neck that is frankly more feminine than anything we've seen this series so far, and moreso matches what she's worn in previous series. It’s unsettling. Steve is in his classic AC-12 uniform.

Just a quick q for the kids at home - if Buckells only ever communicated with people via a secure browser on burner devices, how in the hell did he get a laptop in prison? Also, why did he not break himself out of prison by having someone else plant evidence of some kind, especially since he supposedly had a lot to blackmail Jo with?

At what I can only assume is their local, Steve and Kate congratulate themselves on doing nothing beyond sit in interview rooms to catch Buckells. Kate might go back to AC-12 - even though she left because of the gaffer's actions which turned out to be WAY WORSE THAN SHE PREVIOUSLY BELIEVED? Sure, Jed. They have a chat about what's been happening with Steve and his painkiller addiction. Kate implies he should drive up to Liverpool to see Steph, which he doesn't think is a good idea. But don't worry, they've got each other, mate. Platonic soulmates forever (no romantic underscoring in this analysis).

And then, with no previous discussion in the script or even telegraphing by the camera, Kate is in therapy. Which is great, because she truly needs it, girl has been through a lot. She mentions her ex, and Josh who is apparently her reason for living but she's texted about him once and mentioned him offhand to Jo to tell her he'd be with her ex, and then her great friend and partner, Steve (which is true, but the romantic framing is gross and out of character).

Not being funny, Kate is wearing a truly horrendous mauve top here, over a white shirt. We've never seen her in a color like this, it doesn't fit in with the rest of the color palette in her wardrobe, up to and including all of the orange and brown she wore at MIT. It's honestly frumpy, and in no way aligns with the characterization shown to us through her wardrobe in the rest of the series. The last time we do see her in an outfit like that is during the interview with Jo. Jo left and took Kate's excellent sense of style with her.

Kate and Steve meet with Patty to discuss Darren Hunter's involvement in the murder of Lawrence Christopher, and discuss how there's more corrupt officers to be uncovered. Patty C isn't gonna do anything about that tho. Hastings strolls up to chat with Patty C, and we learn that Buckells will get immunity. The trio are about to leave when Ted storms back into her office to confess to his actions leading to John Corbett's death. He gets one more speech about carrying the fire and bad apples in policing before they all leave.

For the final outfits we may ever see them in, Hastings is wearing a blue shirt, Steve is wearing a grey suit, white shirt, and green tie, and Kate is in a white turtleneck with a navy pea coat. Again, this turtleneck is more effeminate than anything we’ve seen her in this series. Hell, even Patty C is wearing blue to show she’s aligned with anti-corruption and just kind of a bitch, not actually corrupt.

Finally, to the blessed epilogue. Shoutout to Terry and Farida for getting some closure to the bullshit they’ve been through.

Jo steps out of her little stone cottage in the country, dressed in a casual sweater of grey and blue, breathing in the fall air deeply. Her layers of clothing are gone, her hair is down and soft. Her Icelandic sweater shows that she’s finally free to honor her heart, and no longer feels trapped by her family and who she thought they were.

And then, a dog trots out after her, and we see Jo bend down to hug the retriever and kiss its head. This is the most free affection we have ever seen Jo give. A set of legs appear in the doorway behind her, and a redheaded woman steps out of the cottage to meet Jo and the dog. Jo smiles at her, oh so freely after the tension she carried for 21 years, and they clasp hands, walking down the country road away from their home. Because Jo is free, and she can freely love and live without fear in her new life.

Now, from a purely logistical standpoint, very little affection between anyone could be shown from episodes 3-7 because of COVID filming protocols (which seem to be far more strict on physical distancing than American and Canadian productions). The production team actually did a brilliant job using forced perspective and interesting over the shoulders to make people seem like they were closer together than they were. From a film nerd perspective though, they broke the 180 rule so frequently that I nearly lost my mind (glass boxes are great but they ignore all rules of perspective).

All that aside, the logistics of filming in COVID mean that moments where we do see physical distancing broken are all the more important. Kelly filmed this scene with an actress who she has not been working with for months, because it is so, so important to see Jo come out of the other side of her tragic life intact. It also matters that her partner is wearing a warm hat and has red hair (intentional casting or otherwise) and that their home has a red door, because it shows that those warm tones represent something different for Jo now. They don’t represent fear and betrayal and being trapped - now they represent home.

Additionally, there are a lot of comparisons made between Jo, Dot, and Ryan. All three had been groomed by Tommy Hunter since childhood to work for the OCG, all three were put into the Central Police to act as inside men, and all three committed terrible acts in their own interest. But there are differences here. Ryan was a little shit as a kid and he clearly had a terrible home life - his mom was the worst. He gravitated to an authority figure who offered him something different and who gave him power. He is a victim of circumstance - but he also found power and enjoyment in his terrible actions. He gloated about Maneet Bindra and John Corbett’s deaths, and he enjoyed wielding power over Jo when he was threatening her.

Dot is the blend between Ryan and Jo - he too was groomed by Tommy to enter this world of crime, and did many awful things without regret, including killing people who threatened to expose his identity as the Caddy. It’s not until his friendship, and burgeoning relationship, that his behavior changes. He almost gets away from the Central Police, despite Kate hopping on a lorry for a free ride to track him down, but when faced with the reality that this would mean Kate’s death, he sacrifices himself and gives her a final clue to dismantle the OCG within the police.

Jo, from what we’re shown, felt regret after everything she did, and the show made it a point to demonstrate Jo as a victim of her family and genuine fear for her life if she didn’t continue following the actions of the OCG. We never saw Ryan or Dot with a gun to their head or with a dozen locks on their door. We never saw them break down in bathroom stalls, or even framing people and discrediting them instead of killing them. And it’s ultimately her relationship with Kate that changes things for her - she tries to use Kate at first to get caught, and when they get close she tries to push Kate away in order to protect her, right until she thinks she has no other choice but to let Ryan kill her.

It’s interesting that all three characters meet their end with Kate (and a damn shame the show never chose to address that fully). She quite literally kills Ryan, has a standoff with Dot that ends with him sacrificing himself for her and giving a dying declaration, and goes on the run with Jo to give her time to prove she isn’t bent and who plants evidence against herself to protect Kate. Later, it’s Kate who convinces Jo to give up everything she knows about the OCG and the man who claimed to be her father, and Kate who offers immunity and witness protection. Finally, in their last scene together, Kate manages to save one of the people corrupted under the thumb of the OCG. She completes a task she first set out for in series 1, the first time she interviewed Ryan and tried to get him to realize there’s a better life out there for him.

Kate does what Jo was hoping she would: she saves her, and gives her the life she never thought she could have.

I wish I could end this with a perfect bow that ties the wardrobe threads of this series together, but frankly I can’t. On a macro level, cool tones remains the symbol of anti-corruption and the pursuit of truth and justice, and warm tones represent any force opposing those ideals. On a micro level, Steve’s clothing choices and what they represent remain consistent throughout the series, as do Jo’s. However, the character that ties Steve and Jo together, the person who believed in the truth of Jo despite what face value was saying, that person’s wardrobe gets thrown to hell in the final episode. Kate’s colors remain cool, and it’s understandable that the warm tones that represented her connection to Jo disappear as Jo turns on the OCG, but the actual physical clothing is completely different from what she’s been wearing before and doesn’t fit her characterization.

I think it’s crucial to note that her femininity is only played up when she’s back on a team with men, where her earlier androgynous dress became suddenly unacceptable. It’s a damn shame, because the emotional payoff for Kate’s growth outside of AC-12 could’ve been really spectacular, and she was stymied in the end in favor of her male colleagues.