#community 1x03

[luuuna-rambles]

Community gifs - 193/?

1x03, Introduction to FIlm

[morgana-pendragon]

2009 was a social experiment

[tomlinfonda]

Inside me there are two wolves.

One who thinks that the writers are either stupid or cruel, and that the finale was so incomprehensibly bad that I shouldn't try to make sense of it. And that I should move on.

The other one is a subtext-and-metaphor-hungry beast that is manically obsessed with finding a reason, at least subtextually, for the incomprehensible mess they made out of these characters, especially Ted, in the finale.

Everyone is so right to point out that Ted in previous episodes would not have acted like this. I think the reason for the sudden regression in his character is Dottie.

That morning, full of smiles, in a good mood, Ted starts his walk to work.

He cheerfully strolls through the streets, saying hello to his neighbors, making chit-chat with them. He is (as Trent said it in 1x03) out there in the community. He is, more importantly, part of a community. Until suddenly-

"Mom?"

Dottie's arrival changes everything. Ted gets worse and worse throughout the episode. In the hotel room in Manchester, the football anthem "Blue Moon", with the haunting lyric "You saw me standing alone" plays over Ted's lonesome figure, in the shadows, depressed.

Juxtapose that with his first scene: the lively neighborhood and daylight.

At the end of the episode, his conversation with his (manipulative) mom hits him deep. He feels immense guilt over not being there for Henry. And he's been torn over this for the entire season.

His mom, and the way she acts, and the way she manipulates him, push him in the wrong direction: Kansas.

I think Ted has disassociated for most of the finale. But I also think that he is intentionally pushing people away. Maybe he thinks that this will make it easier for him to leave, maybe he thinks that this will make it easier for them to let him go. Maybe he just hates himself so much that he cannot accept their help. Maybe he feels guilty that they're showing him so much love, when he knows he will abandon them.

Either way, he quits. Something that he would not have done, even in season 1. So his regression goes farther than the first episode, deeper into his past. He goes from:

to having doubts on the plane about leaving without winning the whole fucking thing

but leaving anyway.

And this is one of the most curious things to me. Rebecca offers to bring Henry to him in England by helping relocate Michelle:

And yet, he refuses. So, sure, this is about being there for his son. But given the choice between his son with his beloved community, and his son without his beloved community, he chooses the latter.

I've heard the argument that we don't know for sure that Ted doesn't have a support system in Kansas. But from a narrative perspective, it's important that we haven't been shown that hypothetical support system at all. And given that he actually returns to Kansas without the one person who we know supported him before coming to England, it comes across as a terribly isolating situation.

So why would Ted choose to part from his found family, even though bringing his son into that family would be an option? My theory is that he just really fucking hates himself. I think he wants to punish himself, maybe for being away from Henry for so long, maybe for something else. I don't think he believes that he deserves love or even credit for how he helped the club.

I mean, Rebecca and Trent offer him exactly that this episode: credit for what the did for the club.

And he rejects them both, choosing instead to remove himself from their lives, to erase himself from the narrative.

I think he's lower mentally than we've seen him for a while.

I think he's in his dark forest.

So the plane departs and then lands. And Ted is back in Kansas, driven through the prosaic, picket-fenced, isolating, depressing American suburbs to the house where Henry and the ex-wife who doesn't love him are waiting for him.

And the light might be golden, and he might be reunited with his son. But as we close in on the last shot of the show, you can see his smile try to fight the sadness in his eyes and you know.

He's not happy.

[whenmemorydies]

Preliminary thoughts on The Bear, race, power and privilege

I’m a non-Black woman of colour who has spent all of my life in the west…so I’ve consumed a lot of television media that is produced by and for the white gaze. The most obvious way that gaze plays out is when people of colour are non-existent in a cast, or when they are included, are tokenistic, bit players.

A more insidious manifestation is where POC are cast to play parts that could just as easily be played by white folks: characters that have no interiority or external relationships related to their cultural identities, wider communities or individual or collective histories (for example, Mindy in The Mindy Project for most of its run, or the characters of colour in Season 1 of Bridgerton).

I've had some thoughts about how The Bear (thankfully) avoids tokenistic and "colour-blind" representation. I also have some thoughts about how the show models meaningful allyship. I'm so keen to discuss this with folks and hear what others think about it too.

Unambiguous and unapologetic

The Bear is confined in its universe, particularly in season 1 where it’s focus is tightly bound to the physical location of The Beef as the setting for almost every scene. Episodes of The Bear are generally not very long, so time is precious (every second really does count). These factors necessarily limit how deep we can get into each character. But the show is so good at drawing on different means of communication: images, lighting, score, soundtrack, phrasing, callbacks to previous episodes, other cultural references etc, that each episode is like a jewellery box with gems waiting to be unpacked and pored over. I've said that I have started reading this show like a tarot deck because of how rich the symbolism in each episode is.

So despite the constraints of time and setting, characters of colour in this show are also so very rich in their realisation and portrayal. These characters are unambiguously and - this is important - unapologetically racialised: through language (see: Tina’s use - and occasional weaponisation lmao - of Spanish), physical appearance (see: Sydney’s two-tone braids and her stunning, prolific collection of headscarves throughout the show), culturally distinct names (see: Sydney Adamu, Ebraheim, Tina Marrero, etc), food (see: Carmy’s peace offering to Syd in ep 1x03 of Ebra’s family chicken suqaar - a popular dish in the latter character’s birth country of Somalia), etc.

GIF by @chefkids

These may seem like small and inconsequential details to some. In fact I’ve been seeing a lot of commentary from folks online saying that what they like about The Bear is that race isn’t mentioned at all on the show. But make no mistake: race is all over this thing. The examples I've given are only some of the many references to racialised histories and cultures that build out the broader fabric of multicultural Chicago here.

What is not present in The Bear is a script that is wasting time explaining the characters of colour and their rich inner and outer lives to white folks. Those things are just a given and we are invited to witness them being brought to vivid life by this cast and crew. And I am fucking here for it.

Respect and allyship

Another thing I LOVE about this show is the respect given to, and the recognition of, the experience, talent, drive and ambition of its characters of colour.

This is most obvious in the relationship between Syd and Carmy who are signalled as complementary equals in many ways. Others have written on the importance of the representation embodied by Sydney’s character and you should search out that analyses, especially when its authored by Black women. The only other thing I’d say about it is that I love Sydney’s character and I also love endgame Sydcarmy (even if it’s only hinted at in the last second of the last frame of the last ever episode lmao…I will take whatever I can get of these two 😭).

I also see the show’s respect and recognition manifest in The Bear's investment in its staff, particularly in season 2. Everyone who worked at The Beef has a role at The Bear and Carmy, Syd and Nat fund the ongoing training and upskilling of their largely racialised staff to make sure this happens. Ebra and Tina are paid to attend culinary school (Carmy also gives Tina his prized knife for her studies and beyond). Marcus is sent to stage in Copenhagen to develop his skills as a patissier. And then we have The Bear itself - what started as Carmy and Michael’s vision, is now the whole team’s baby, with Sydney literally being made the captain of the ship by Carmy at the end of ep 2x09.

GIF by @savagegood

Part of what was so tragic about Carmy's fridge spiral at the end of season 2 was that he didn't get to see how beautifully the team came through in a crisis. Instead we had him internalising, regressing and lamenting how he had let everyone down. This language centred Carmy as the be all and end all of The Bear (saviour vibes) when this couldn't have been further from the truth (particularly in a season where the man spent so much of his time not in the restaurant but chasing manic pixie no-last-name-having Claire....but I digress).

Carmy is his best when he checks his ego, takes a step back and realises that he is not alone. He is part of a whole chosen family supporting one another at The Bear. And I get the sense that the folks creating this show know that we need more white folks using their power and privilege to step back and facilitate access, and less gatekeeping white saviours taking credit where its not due.

After all, and paraphrasing Viola Davis, the only thing that separates people of colour from anyone else, is opportunity.

12/04/24 Note: I’ve amended this post because I forgot to mention the most pivotal example of Sydney along with her relationship with Carmy. Also made some slight stylistic changes to phrasing cos i fixate on errors lol

[itsclydebitches]

Don't mind me, everyone, just gonna slip on my Tedependent conspiracy hat for a bit...

Okay, for real though, can we talk about how Trent's backstory in 3x06 completely re-contextualizes his dinner with Ted in 1x03? Based on my own interpretation, the implied timeline is that Trent was married to a woman, attempted to come out to her and was dismissed (perhaps in large part because they were married: what do you mean you're gay? You can't be. You love me, etc.), either having his daughter forced Trent to become more honest about what he and his family needed, or they had her in an attempt to "fix" the marriage, she gets caught in the crossfire of all this, Trent comes out again, this time his wife believes him, they divorce, are still good friends, and their daughter is happier than ever because she has two loving parents who are now living their best lives.

Given her age - 3 at the start of the series, about 6 now - that means there's a decent possibility that Trent was still married at the beginning of the show.

And that his dinner with Ted is one of the things that pushed him to try coming out again.

As his core Ted is someone who is authentic and that authenticity is what catches Trent's interest. He's dismissive of it at first, literally thinking it's a "fucking joke," only to later end up with the revelation, "You really mean that, don't you?" - that Ted honestly enjoyed spending time with him. AKA, Ted says and does what he means, even when it seems completely unbelievable. How freeing must that be to see? I'm just imagining this interview-turned-dinner through the eyes of a man who is still unhappily married, mostly closeted, and struggling to help his daughter through the stress of that dynamic. Then he meets this sunshine of a coach who is so authentically himself that it initially comes across as an act, an exaggeration, a joke. But Ted never wavers, simply refuses to be anything other than himself. Soon he's doing even more than that, breaking down gender norms by characterizing the masculine, aggressive Roy Kent as the "little girl" from A Wrinkle in Time, burdened with the responsibility of leadership. He turns what should have been the end of a horrific day of shadowing into a dinner date and Trent finds himself answering the hard-hitting questions instead of his interviewee. Ted brushes off his accusation of greed with, "Wait, I'm supposed to be getting paid?" but Trent is completely caught off guard by Ted's "What do you love?"

The textual answer is "writing" and the fun fandom answer is "you," but if this is a Trent who still hasn't fully come out yet that's! A hell! Of a question!!! A closeted, queer individual's mind is going to jump to their biggest secret and, when offered an out, they're going grasp at it, so Trent eagerly agrees with Ted's guess of "writing" the same way Colin eagerly pulls the 'This is a gay bar? Haha, my mistake' card and makes a run for the door. Reading this interaction as Trent not just being gay, but potentially being closeted and unhappily married makes it less about the journalism (this strange coach likes me and thinks I can be a good person despite my invasive career choice) and more about his sexuality. Oh, no big deal, just having an intimate dinner with another good-looking man who's questioning me on love of all things and slowly inspiring me to be the best version of myself, which would require coming out to my wife again. This is a totally normal and not at all life-changing night! I definitely don't need to run away now!!

Via this reading Trent's article feels so loaded. Ted is "out there in the community" either "bravely or stupidly facing the music." That sounds a hell of a lot like a parallel to literally coming out and facing the music of a community's potential rejection, with Ted's American background/inexperience/unique personality acting as a stand-in for sexuality; the reasons he's labeled a "wanker" before anyone actually gets to know him - as the pub trio does while those very words are narrated by Higgins.

And then we have this:

"If the Lasso way is wrong, it's hard to imagine being right.... and though I believe that Ted Lasso will fail here... I can't help but root for him."

There are other elements at play here, like the football's celebration of ego and the threat of the club being relegated, but underneath it really sounds like a still-cynical Trent wanting to see the kind of changed world that those like Ted could bring about, but not really believing that it's possible. Given his history, is he really just talking about football when it comes to "the Lasso way"? I doubt it. Trent is potentially feeling trapped at this point in time, pessimistic to the point where yes, he still thinks that Ted will fail at football and creating a more inclusive, accepting community... but even still, Trent can't help but root for him. Of course he can't. He wants what Ted is offering. He needs it.

But then, of course, Ted succeeds! Not just in doing well by the club, but by the community as a whole. He maintains that inspiration and hope until, potentially, Trent felt like he could do something about his own situation. He found the nerve and strength to try again. So he comes out to his wife, they divorce, their daughter is happy, he goes on a date with a mustached man at the local pub, ditches him to try and 'interview' Ted, blows up his career because he realizes that his job is undermining the very thing he's been rooting for and he can't not give Ted a heads up, begins shadowing Ted as he looks for something "deeper," and then comes out to Colin, gazing wistfully across the water as he imagines being able to kiss a man after a win...

I'm not saying Ted Lasso is going to go there - and I'm DEFINITELY not saying there should be ANY accusations of queer baiting if/when they don't, because we've absolutely built the majority of this ship in fandom spaces - but I AM saying that if Trent's potential intersection of his history with Ted's influence and Ted's desire to shake things up while imagining bisexual triangles actually led to something... it would be a damn well done setup!

[thoughtfulchaos773]

Thanks @vacationship for pointing out that Sydney initiates the first touch with Carmy in Review. As an obsessive person, I will analyze the choice to touch Carmy and the buildup to it.

(Warning: This might bring up some annoyance with Carmy. However, the tension and buildup leading to his explosion in this episode are incredibly well done. Looking back on the episode, it speaks to Carmy's character development season 2.)

So we fast forward to Ebra reading the review, revealing Sydney's dish as the restaurant's highlight.

Ribbon of brine, huh?

Carmy was already busy but noticed he didn't initiate eye contact with her like usual. The only time he looks her way is to shake his head in disappointment-hurt-anger that this dish she makes herself and that he says isn't ready. It gets a green light. Really, it's about Carmys not being genuinely ready to change for their relationship to develop. Carmy doesn't do this until fast forward - he loses Sydney.

Maybe the lack of eye contact tells us there's a disconnect, and there will continue to be a disconnect between them throughout the episode. And the GLARE carmy makes at Sydney. Everyone should already know shit about to blow up.

Carmy was ANGRY.

He's nodding in agreement, but you can make it out that he's stewing while sydney is asking for understanding, something he's struggling to give.

Sidebar: it brings up the importance of Tina's say hello to Jeff's friend. Carmy isn't feeling that connection - that friendship right now.so Tina saying that adds fuel to his fire.

Fast forward to more buildup, Richie and Sydney's argument. Carmy comes up with his baggage, ready to end the fight between him, but he is not much help.

Carmy intervenes, and there's still no steady eye contact with Sydney.

Oh and the importance of Sydney saying WE are learning (call back to carmy asking Sydney in 1x03 bridgade, WE want to make this place better, right?). Early on, they established their bond, but Carmy makes sure, maybe out of spite, to say the new system was her idea.

This is when Sydney really notices they are not on the same page. That he's pushing her away.

Which is what makes her make the unconscious decision to touch carmy. A plea to connect again.

Carmy stops like she asks him to through touch. Even though he was ready to walk away, he couldn't help but take a moment to pause even though they're under pressure with time. And for the first time, he really looks at her. His eyes come up even though he's still in his feelings about the whole thing.

That also tells us about Carmy's character. He doesn't talk about his feelings, which reminds me of episode 2x06 'Fishes', where Mikey had to practically drag out of Carmy the reason why he was so angry with him. When Carmy is hurt, he either explodes quickly or lets it brew until it's too late. There's no balance in his anger.

But Sydney helps with this. With their relationship, they want to keep the connection going, and in order to do that, with disagreements, there needs to be a goal to always maintain connection.

Arguments happen even with the most compatible people. It isn't toxic as some naysayers use it as an excuse to this ship. both strives to connect and carmy, although angry stops to give Sydney a minute.

But he still turned away and didn't hash it out with her. He didn't check early on if she was okay. This could be a lesson learned- a blow up may not have happened if he had given Sydney more time and connected with her despite his anger.

This gesture reveals a lot about their relationship dynamic, and looking back, it helps me appreciate Carmy's character growth. His desire to improve communication and become a better partner for Sydney? Sydney being the same way and their efforts to maintain their relationship is what makes the ship so compelling.

[m1zumono]

dean winchester and autism because this man is autistic and i will not accept otherwise:

his reaction to sam giving him the giant slinky at the end of 7x14 'plucky pennywhistle's magical menagerie'

actually physically stimming when he enters the bunker with sam in 15x14 'last holiday' and sees the christmas decorations

the boxing episode, 11x15 'beyond the mat', where dean spends the entire episode fanboying and (for lack of a better word) plays in the boxing ring

wearing the same thing (flannel, jeans, in earlier seasons the leather jacket) almost all of the time while not in disguise to work cases

eating the same thing (cheeseburger with extra onions or pie) at almost everywhere they go, as often as he can (about dean winchester and food, i could talk about that for hours he has so many issues with it and it's all john winchester's fault)

his ability to recite movies line for line, and his tendency to communicate almost entirely through references and movie quotes, and expecting people to understand what he means

about references, he makes jokes and references when it's not appropriate, he doesn't understand that something isn't appropriate in a situation where it isn't specifically pointed out to him, and he generally has a pretty messed up sense of empathy and inability to 'read the room'

‘you’re always calling me a geek, but you know every word to every led zeppelin song, backwards and forwards. you can discuss in detail every major rock drummer between ’67 and ’84… and you watch ‘jeopardy!’ every night.’ - directly quoted from sam winchester in 14x20 'moriah'

in 13x06 'tombstone' when they go into the motel and dean talks about the cowboys, identifying all of them and going into quite a bit of detail about a few of them, even though nobody asked him about it and he is absolutely infodumping. 'he really likes cowboys.' 'yes. yes, he does.'

his knowledge of cars, particularly baby, and how he takes her for a ride when he's sad because of the comfort she provides him. also about baby and comfort, the way he offers to let people drive baby when he realises that they're sad, thinking it'll make them feel better as she makes him happy and he doesn't understand how else to help

in 1x03 'dead in the water' he talks to lucas about how he didn't speak as a kid, he plays with the toy soldiers and it doesn't come across as playing with them to make lucas trust him, it actually comes across as him finding genuine enjoyment in it

in 1x15 'the benders' when he's talking to the kid who mentions godzilla, dean brightens immediately and goes off topic talking about his favourite godzilla film, and has to be reminded that he's working a case by sam

the entirety of 14x04 'mint condition', how dean gets to express his interests and be himself and how a lot of people have mentioned that he seems to be genuinely himself in that episode instead of the act he puts on

larping with charlie, no explanation needed

he shuts down when things go badly, often blasting music and ignoring everything and everyone around him

he always picks scissors when playing rock, paper, scissors, and it's actually something that comes up multiple times within the show - in 2x17 'heart', sam says, 'dean, always with the scissors,' and along the same lines, his excitement both times he actually wins the game

in 1x04 'phantom traveller', dean is terrified because of the plane and sam points out that he's humming metallica. he replies that it calms him down, and that just seems very autistic

[purpleplaid17]

Today, thou will all be working at the beating heart of Pilgrim World. Ye Olde Fudgery! “Ye Olde Fudgery”? More like Ye Olde Diabetes-in-a-Box. Volunteers, prick up thine ears. Fudge is the lifeblood of our humble community. And samples equal sales, so grab a uniform and a box and make our forefathers proud.

Wednesday 1x03 - Friend or Woe

[sadquickchristmassnowman]

episodes of community I could give an hour long media analysis lecture on with no preparation

1x03 introduction to film

2x05 messianic myths and ancient peoples

2x11 abed’s uncontrollable christmas

2x14 advanced dungeons and dragons

2x15 early 21st century romanticism

3x04 remedial chaos theory

3x14 pillows and blankets

3x16 virtual systems analysis

3x22 introduction to finality

4x11 basic human anatomy

5x05 geothermal escapism

5x07 bondage and beta male sexuality

5x11 g.i. jeff

6x13 emotional consequences of broadcast television

[beaulesbian]

Louis de Pointe du Lac & Lestat de Lioncourt in Interview with the Vampire 1x03

“We're communicating so much better now, no?”

[luuuna-rambles]

Community gifs - 21/?

1x03, Introduction to Film

[andsomemaniacgotridofthewheel]

Oh oh oh oh oh oh something just hit me like a ton of bricks so that I just sat straight up in bed. (I'm not usually up at the time I started writing this.) Bear with me please:

Ed's & Stede's relationship in episodes 2x06 and 2x07 is now at THE SAME kind of crossroads that Ed's & Izzy's relationship was in 1x03 and 1x04.

Let me explain.

Last year I read a wonderful tumblr post that detailed how Ed & Izzy's relationship in the first two episodes we see them in is like that of an old married couple. In the sense that they suffer a break down in communication, that is apparently typical for people who have known each other very well for a very long time. The gist of it was that they basically think they know what the other person is going on about, don't really listen, and thus always talk at cross-purposes.

Now let's have a look at where they were in episodes 1x02 and 1x03: we know that they have pirated together for more than 20 years. We don't know how much of that time was as Captain and First Mate, but even before that they must have lived on the same small ship and worked together. They really do know each other well, and most likely intimately (again, sailing ships are not that big, chances are that Izzy had a front row seat to Ed's "sexual dalliances" with Calico Jack or any other, and vice versa, not to mention any other stuff that might have been going on in their lives.) But some time ago, we don't know how long - could be a couple of months, could be a few years - Ed started to get bored and frustrated, while Izzy stayed content. And here is where the communication started to deteriorate. Because Izzy doesn't get Ed anymore, for him it looks as if he has become erratic and unpredictable, which in turn frustrates him. And while Ed tries to convey to Izzy what he feels, we know from 1x03 that he does not do that in the clearest of terms. Probably because he had to figure it out for himself first, it's not that easy identifying vague feelings of discontent in yourself and locating their source, especially 150 years before psychology was even invented.

Now the two most important conversations between Ed and Izzy, that basically spell out for us, the audience, what is going on between them, are the one about the clouds (to which we only get the cypher key toward the end of the episode) and the one where Ed finds Stede's model ship of the Revenge.

Izzy: "Now we really should discuss a plan of action--" (to avoid being captured by the Spanish.)

Ed: "Izzy Izzy Izzy come look. Those clouds. Do they look like Frankfurters to you?" (I don't think you have to worry, a fog seems to be coming on.)

Izzy: "They look like clouds, boss. Can we just focus on--" (What the fuck are you on about? I'm trying to talk to you about the impeding doom of the ship! This is important and you are going on about one of your weird fancies!)

Ed: "Yes, they look like clouds, because they are indeed clouds. But if you just put some fucking imagination into it, man!" (For fucks sake Izzy, I'm trying to get you to think! The solution for our problem is right there!)

Izzy: "I suppose they look like sausages." (Fine, I'll play along. Maybe then we can finally talk about the important stuff?)

Ed: "Frankfurters. Yes, exactly. It's like pulling teeth with you sometimes, man." (ARE YOU GETTING IT NOW, MAN?!? I am already working on the solution to your problem, and if you just fucking listen to me and think about what I am telling you, you would see it, too! Why do you always have to make it so difficult?)

This is not a conversation about their own relationship and general situation in life, but it demonstrates clearly what goes wrong in their communication. Izzy thinks Ed is just being weird again and doesn't care about what Izzy thinks is a big problem for all of them. Ed is perfectly aware of the problem, but tries to get Izzy to see the solution he is working on for himself, rather than telling him outright, and is frustrated when Izzy makes no effort to do so. And it is implied that for a while now, all of their conversations are going down that way. They don't understand each other (anymore).

The next one really goes down to the bones of the problem, though.

Ed is excited by the display cabinet he finds and tries to show Izzy. Izzy is still frustrated because Ed doesn't seem to care that they've got a problem. So Izzy keeps talking at him about a plan while Ed already has one in the works and would rather focus on this fascinating new kind of pirate they have discovered; finally, something that isn't boring! And then Ed actually becomes pretty clear for once: "We always need a fucking plan, alright! And then what, then we fucking execute the plan, and then we get another plan, then what do we do? We execute that, and so on, and so on, and so on, and again, and again, and again, IT'S ALL SO FUCKING BORING! I'm bored out of my skull man, is this all there is? I shouldn't be bored, I'm fucking Blackbeard!" Now Ed could hardly have been more honest about his feelings, but Izzy is still stuck in their rut, Ed is being weird again, so yeah, great, he's bored, but why does that mean all the work has come down to him? He only thinks about their current situation, he believes Ed's feelings are temporary, he doesn't realise Ed is talking about their whole lives. That he has been feeling this way for a long time, that that is what makes him "weird" or "erratic". Because Izzy doesn't feel that way. Izzy is fine with their way of life. And he can't imagine why Ed would feel any different. But they still have this problem that Ed is refusing to discuss with him. And then Ed starts talking about dying to end the boredom, and that is when Izzy gets completely lost. ("Yeah, cause that makes sense"). Again, he is frustrated, because he doesn't understand what is going on with Ed. He didn't used to be like that™.

Now it is unclear if Ed at this point has just started formulating the next plan in his head, the one where he fakes his death to escape the boring life of invincible Blackbeard, or if his affinity for suicidal ideation that we see in season 2 is already at play here, too. Maybe a mix of both. But either way, Izzy doesn't get it (yet), and he doesn't understand why Ed doesn't seem to get him, as well. Izzy wasn't the one who changed!

We, the audience, later receive a lot more information by way of Ed's first conversation with Stede, where Ed expresses himself clearer and freer than he ever could with Izzy. He's bored, because nothing is a challenge anymore; he's frustrated, because he's stuck in this line of work that bores him; and on top of that he finds the whole cult around the persona of Blackbeard rather ridiculous. ("Nine guns???")

In a later episode, when Izzy is so frustrated with Ed's "erratic" behavior that he wants to leave, we experience a moment of how clear communication could look between them. Ed finally tells Izzy about his plan to fake his death, kill Stede and take his identity. But he only does that because he wants to appease Izzy and stop him from leaving, and the fact that he already has genuine feelings of affection for Stede is not mentioned. (Maybe because Ed himself isn't even sure about it yet?) And Izzy is too blinded by the opportunity of becoming Captain himself to think more deeply about Ed's wish to retire. He most likely thinks Ed does this because he was presented with the unlikely opportunity to bow out of the job on a high without having to die or being hunted for the rest of his life, so why wouldn't he take it? He doesn't connect it with Ed's boredom, still doesn't realise that Ed's decision also comes from a longing that he has already harbored for a long time.

Which is why, when Ed realises his feelings for Stede and starts looking for other ways to change his life, Izzy is again at a loss and just defaults to the easiest explanation: he blames Stede. Stede must have changed Ed, Stede must be responsible that Ed suddenly doesn't want to continue their old, familiar life as The Dread Pyrate Blackbeard and his first mate, or at least change it to the retired pirate Blackbeard and his successor, Captain Hands. And then he makes his first really big mistake: he forces Ed to choose, thinking their shared history together makes him safe.

This is how their story escalates, and we all know where they ended up. Betrayals, threats, mutilation, shooting at each other. The fact they are able to stay on the same ship together is a minor miracle. They have history, they have love, but they are done with each other.*

Now, Ed & Stede.

When Stede and Ed meet, Stede dreams of being a successful and famous pirate, but isn't really good at becoming one, to put it mildly. Ed, at the same time, is a very successful and famous pirate, but doesn't want to do that anymore. That's them at the very beginning of their relationship, so anyone who didn't see the current blow-up between them coming, hadn't been paying attention.

Now at first that doesn't really matter. Ed teaches Stede about pirating, Stede teaches Ed about life as an aristocrat, where he can have beautiful things and enjoy life without having to rob and kill. Their differences at that stage actually give the other the very thing they so desperately need. And they start to change, but at first that change just moves them even closer together - Stede becomes a better pirate without having to give up his fancies and the luxuries on his ship, and Ed gets to enjoy said luxuries and the rather peaceful and comfortable life Stede and his crew live on the revenge, while still being basically the great pirate Blackbeard.

But the first time this causes friction in their relationship is also in season 1. After Izzy's betrayal and the Act of Grace, we see Ed contentedly giving in to their new situation, shaving off the beard that was quite literally his trademark, folding stuff; and, after Stede reciprocated his love, looking forward to run away with him to lead a peaceful, private life in China. But Stede is disturbed by all these changes, because Ed is giving up what he himself so desperately wants. Just like Izzy, Stede doesn't really understand it. Why would Ed do that? Just for him? He might have understood that Blackbeard was bored and frustrated before, with the monotony his life had become, but they'd changed that, right? They were pirates together, that's not boring or frustrating, right?

Which is why it is so easy for Chauncey - about who, we have to assume, Stede still hasn't told Ed - to use it to feed Stede's own insecurities - Stede will never be a great pirate, and now he has even ruined someone who was a great pirate.

Again, we all know where that ended - Stede going back to his family out of a feeling of guilt, and Ed going back to pirating - how could he run off to China without Stede now - because that is the only option he has. And boy, does he turn it up to 11. Talk about putting your feelings into your work.

But then they reunite, they talk, they come back together and even finally spend what I think we all imagine as a very emotional, romantic night together, albeit with some other messy stuff in the mix.

Only the elephant in the room is still there.

And in 2x06 it starts to get interesting, because Ed tries to tell Stede.

Telling the kids that they are not pirates but own an inn together, that is Ed trying to let Stede know that that is what he wants. I want to own an inn with you, lead a peaceful life, not being pirates anymore. But Stede doesn't pick up on that. He just assumes Ed came up with that on the spot to be a better example for the kids, no more, and he "plays along".

Then Ed tries again at the beginning of 2x07.

Ed: "How about we just avoid all near death situations?" ("I don't want us to be pirates who are in danger all the time!")

Stede: "Nice idea. Not bloody likely in our line of work." ("Aw, it would be a great world if you could be a pirate and not be in danger all the time. But we both know that's not the case, we both know we are pirates, and pirates are in danger. So alas, we are going to be in danger all the time.")

Stede is happy. He is finally where he wanted to be. He's become a great pirate (or is at least well on his way), and he is with his love. And in his bliss he doesn't really listen to Ed when he tries to let him know that he wants something different. Why would anyone want to change something that is so perfect?

Just like Izzy, back then.

So, as I said, the blow-up had been coming a long time; and it actually went tamer than I feared. Ed not feeling understood (because he isn't) and running off to become a fisherman, Stede probably feeling like he had a bucket of ice water dumped over his head, unable to assemble the puzzle pieces of what he had missed due to pure shock, and both being upset and angry with each other. Ed's "why don't we stop now, before we say anything we can't take back" is surprisingly healthy, while Stede having to shout "you're a coward" after him anyway makes me want to shake him like a rattle. But we know where Ed is, he hasn't dropped off the face of the earth, they can come back together and continue their conversation after some thought and introspection, having realised that there was something they should have talked about a lot sooner and maybe trying to see where the other man is coming from.

I think part of the solution will arise from what happens in the last minutes of 2x07, when Stede's pirate fantasy starts crashing down around him - similar to how Ed's fantasy of aristocratic society in 1x05 first gave him a high and then crashed as well. Stede needs to get it out of his system, but ultimately, being a pirate is not who he is. He was able to grow and change, to become a better pirate, a better Captain, but he has to realise that he doesn't have to become more manly, less sensitive, or give up the beautiful things he loves, and that Ed loves him exactly as he is. That piracy is a fantasy, one that Ed lived and knows the worst parts of its reality, that he doesn't want anymore and that Stede wouldn't want either, once he fully experienced it. And he needs to understand what Olu told him in 1x01 - that piracy is something different when you never had another choice. Because Ed never had another choice. But Stede could give him one. After all, they have always been happiest together when they met in the middle, and they can have that - away from Stede's aristocratic life, away from Ed's piracy.

At least, that's what I am hoping for them (and, well, I trust David Jenkins, so yeah**).

So Ed's & Izzy's long term relationship broke apart because Ed wanted to retire and Izzy, who couldn't imagine being anything other than a pirate, didn't understand or support him.

And Ed's & Stede's new love is in danger because Ed still wants to retire, and Stede, who loves being a pirate and can't imagine why anyone wouldn't, didn't understand him... But maybe he will?

"He is a complicated man."

Yes. And hopefully one of you succeeds in figuring him out and give him what he needs, where the other one failed.

*= oddly enough, the violent destruction of Izzy's mental image of "Blackbeard", that we witnessed partly during the first 3 episodes of season 2, could be the very thing he needed to finally see the person "his" Blackbeard turned into while he wasn't looking. He might finally come to be able to understand Ed.

**= honestly? I think that is what Izzy's journey about learning to care for the crew and being accepted by them is all about. And he is not only training Stede to be a Captain, he is also learning from him. How to be more sensitive, more supportive, Stede's "people-positive management style". Because once Ed & Stede fake their deaths and retire to the countryside to open an inn, Izzy will have another go at being a Captain - this time one that his crew will not be trying to throw overboard after what accumulated to basically 5 minutes of his reign.

[chirpsythismorning]

Crack Theory: Will Byers is Twelve (012) - Part 2

4x05: The Nina Project (cont.)

Side note: Remind you of anyone?

(above) Will (?) communicating with Holly from the Upside Down in 1x03: Holly Jolly

Despite being the only kid to not raise her hand, El gets picked to go next.

For some reason they rearranged the kids here the next time we see them lined up, and I do find it interesting this adjustment ends up centering Twelve in the frame, and also in between El and Henry.

What follows is El not being able to prove her abilities, and having to endure snide, hateful and honestly abusive remarks from Two and Brenner as a result.

We do not see Twelve's reaction to this.

4x06: The Dive

I'm not really sure how to interpret what follows related to Twelve.

We go from having him focused on more compared to the other kids, to him now being left out of sequences such as this one, and at the most interesting times...

For example, we see almost all the kids get blindfolded by Henry. I find it weird that they skipped over Twelve and didn't let us see a shot of that?. We do see Twelve walk up, then eventually sit down with the other kids looking disappointed in this sequence, but nothing more. This feels like a weird choice when compared to everything else. The order of kids getting blindfolded is this, 6, 5, 4, 3, 13, 10, 14, 7, 9, then lastly El ... Idk it feels like they're deliberately skipping over him...

It could honestly be nothing. Continuity can of course be intentional, however it can also not be. And this isn't even the strongest evidence out of all of this, so I wouldn't base too much on it.

Still, perhaps this could support the possibility of them leaving Twelve's reaction out of certain shots, with intentions to reveal them later...

And this is when things starts to get interesting... Like REALLY interesting.

4x07: The Massacre at Hawkins Lab

Brenner has found out about what Two and his minions did to El during her extra hour in the Rainbow room. He confronts Two in front of everyone and despite his denies and protests, Brenner takes things a step further.

Again, we don't really see Twelve's reaction to any of the hate being thrown at El here either. And it just seems odd. Everyone has been shown laughing or showing some type of outward emotion in regards to El and her actions/how other people treat her, but not from Twelve, really ever.

What I do find noteworthy is the blocking here. Although Twelve isn't as centered as he's been the last few times during group activities, it's interesting that in this shot he's directly across from Henry (One).

Which brings us to one of the most interesting pieces of evidence (coincidences?) of them all...

Recognize this device?

I remember when this scene from the 4x08 8flix script surfaced and this shot specifically was one several people on here considered very odd. Like, could this potentially support the possibility of Will knowing Brenner, meaning Nick' scripts could have in fact been real?

Because, why else keep Will out of this shot, and all while everyone else is almost entirely visible? Why?!?!?!?!?!?

I'm starting to sense a pattern here, relating to Will and Twelve...

Okay now you guys have to wait for part 3!

And trust me, ITS GETS EVEN MORE INTERESTING!

Part 1, 2, 3, 4

[raayllum]

Callum + looking away motif

In season four, Callum has a very specific pattern of body language in regards to when and how he looks away from Rayla (and when he doesn’t). Now, I’d noticed the importance of eye contact in Callum’s character before, as well as the Book One novelization in particular (separate from the series’ eye motif in general), in rather small ways, specifically in regards to the differences in his ‘confession scenes’ with Claudia and Rayla. 

In his confession to Claudia, Callum repeatedly looks away from her. However, in both Callum’s accidental (3x04) and purposeful confessions (pictured above) to Rayla, Callum never looks away. He keeps his eyes on her, and stares into her eyes, the whole time, even as she’s befuddled or unsure. 

So it was interesting to me to see how this reverse played out in season four, as well as how the motif was built throughout all previous three seasons. So let’s talk about it!

Now, it’s not as simple, of course, as maintained eye contact equalling intimacy with looking away being a lack of intimacy. There are plenty of scenes where Callum is facing characters and it’s not an emotionally intimate scene, or scenes where he isn’t but it is emotionally intimate. However, I do think that season two builds on this motif, as does season three, in ways that makes season four engaging with it at the forefront in ways that are meaningful and emotional (and indeed S4′s repetition is what made it click in my brain for the rest of the seasons in the first place). 

So let’s talk about looking away as a turning point, severance, or lack thereof in S4.

Season One as a Turning Point

Obviously, much like in S4, Callum and Rayla’s bond starts with him turning around to face her, she takes off her hood, and their story with each other (already with its parallels and unique setup) truly begins. 

And then we see the way Callum re-engages with this motif of turning to face her at crucial moments where their bond is being developed, particularly in 1x03.

But in some ways the most important scene with this “looking away vs looking towards” motif is when they’re in the dungeons, in terms of set up, foreshadowing, and communicating future dynamics without a word. 

While on the surface Callum looking away from Claudia and to Rayla is just a storyboard beat, it also shows his processing and inclination. He’s listening to, and agreeing more, with Rayla in this instance over his childhood friend - and he will continue to do so, particularly in season two (which has its own parallel to this very scene).

We also see this continue throughout the season in small ways. Callum continually moves (often seen in the ‘chasing after her’ motif/pattern) to place himself in Rayla’s line of sight, most notably in the boat bonding scene in 1x05, placing his hand on her shoulder on the shoreline as well, and when he swallows his pride/reservations and hands the egg over to her as well. 

He pivots and literally turns toward her in order to specifically highlight and strengthen their bond. But if season one is about turning toward as an aspect of bond building, then season two establishes looking away as an act of severance. 

Season Two as Severance

Again, this isn’t something that doesn’t exist in season one. Rayla often looks away when putting up walls or boundaries to try and protect herself from Callum’s persistent (gentle) prying or ability to read her when she doesn’t particularly want him to.

However, season two is mostly when we see Callum employ looking away from people (Claudia, Rayla) in his own body language, in ways he just didn’t before in season one. Callum for better or for worse is typically very confrontational. His anger largely means pursuit, even if we start to see exceptions of when he’ll avoid things (mostly things he isn’t sure of how to process, like grief). Thus, when he walks away from Rayla in the beginning of 2x03, it’s a signal to us - or at least a way to instigate fear (and the fear that she’s feeling) that she’s losing him. He won’t look at her at first with her chasing after him, for once, and then he turns away from her entirely to walk back on his own.

And this perfectly parallels where he was an episode earlier: knowing he was hurting her, and unable to look at her while he did so. 

C: I can see you believe it. But I’ve known Claudia and Soren for years. You and I... don’t have that yet.

So we’ve had Callum looking / walking away in attempts to create distance with Rayla, each time to no success, but where does that motif come in when he actually severs a bond? Well... It’s this one: 

He turns away from Claudia and he never again treats her as a friend or with compassion (although we’ll have to see if that changes at all in S5, but I doubt it). While he briefly tries to reason with her in 4x08 (although he doesn’t have a lot of alternative options), it’s clear that the relationship is broken in 2x03 when you take a look at 2x07. But 2x03 begins and ends with Callum and Rayla’s dynamic becoming stronger.

His ending scene begins with him looking behind at the past (Claudia) and away from Rayla, and ends with him looking at Rayla as she literally turns him away from Claudia and toward her (and the future they could have together). Not only is it enough to raise his spirits, but we see this pattern be continued in S2 with Rayla turning him away from well, his self loathing, and toward her and whatever comfort she can provide instead.

Season Three as Continued Intimacy

Season three then continues this intimacy of eye contact and turning toward on another with, well, a lot more emphasis and scenes with maintained eye contact to begin with. 

There’s not too much to say here, as it’s fairly self explanatory with our previous base, and I’ve already gone over how much Callum looks away while confessing to Claudia, in contrast to the continued and persistent eye contact he makes with Rayla. Once he looks at her on the ambler, he never looks away until after he’s kissed her and worries that he’s screwed up somehow. Therefore, looking away for Callum becomes a matter of either lovestruck shyness or well, lovestruck decisiveness. 

So if looking at Rayla is chosen and continued intimacy, then not looking at her is

Season Four as Denied Intimacy 

One of the first things I noticed about Callum and Rayla’s reunion is that, after the initial face-to-face shot of them gazing at each other (Rayla hopefully, and Callum shocked/tearfully), he can barely actually bring himself to look at her, even when he is unwilling to leave or unwilling to send her away. (Rayla can also barely actually look at him, instead looking often times at Stella, when she’s being more vulnerable in their reunion scene too, but again: smaller post for another day perhaps). 

This is on par even with his conversation with Ezran in 4x01, in which he repeatedly looks at the moon and/or away from his brother, particularly in moments of vulnerability. 

And Callum keeps looking away from her throughout the season, trying to put up walls or unable to take them down, even as he can’t bring himself to put anymore physical distance in between them after two years apart. 

And al of this beautifully comes to a head in the parallels between Rayla’s decision to leave and Callum’s response to it in 2x07 and 4x09 respectively, a parallel I’ve pointed out many times before because it is always so poignant and heartbreaking to me. 

Because after a season of denying his feelings, or trying to shut them down, or not wanting to deal with them, or any and all of the above... after a season of looking away... 

He finally, finally, looks back. 

And he doesn’t look away again. 

Unlike in 4x03, he doesn’t try to leave. Unlike in 4x05, he lets her walk away but he watches her go to this time. He’s concerned primarily about her while everyone else is mostly relieved Zubeia has saved them. He’s the first to find her in the rubble. He holds on tight with both hands. Directs her gaze to him, and then hugs her. 

Because he loves her. He always has. And “I’ll never able to look at you without loving you.” 

Conclusion

This meta (like many others) doesn’t really have so much of a conclusion, as it’s a consistent enough pattern that, if/when you notice it, amplifies what’s already there, rather that indicating what may be. It’s not always this straightforward, and aspects of looking away vs looking at or toward weave in and out (Callum’s confession to Rayla in 3x05 starts off not looking at her, after all. That said, I do think the consistency is interesting, and it’s a ‘motif’ I’ll be keeping my eye out on, particularly as we move forward.

As always, thank you for reading & I hope you enjoyed!

[irrolyphant]

“People use words to communicate. You should try some.”

JUSTIFIED: CITY PRIMEVAL • 1x03 Backstabbers

[thoughtfulchaos773]

Al-Anon's healthy relationship principles: Tradition III

In episode 1x08 of the show, Carmy's monologue was interpreted by Calo as a love letter to Al-Anon. However, I believe that the entire show, and not just one episode, embodies Al-Anon's principles and can be seen as a love letter to them among its many themes.

So going backward, while watching episode 1x03, I became curious about the al-anon pamphlet that Carmy carried. This led me to research their principles and views on relationships, which I believe align with Carmy and Sydney's situation.

They call these principles the 12 traditions of healthy relationships (which uses the 12 traditions in recovery as inspiration). What stood out to me is the belief that unity is the most important part of a healthy relationship. There's a belief that unity is what keeps the family affected by alcohol together. Communication is vital to this union, and the desire to make it work. There are other principles, such as expressing a godly love and autonomy in the union- I may discuss this another time. Right now, let's analyze Tradition III, which season 2 seems to be paying homage to.

Also, thank you, @currymanganese, for helping me align these principles with Sydney and Carmy, along with @vacationship for encouraging me to post.

Tradition III

Summary: When gathered together for mutual benefit, may call themselves a relationship. The only basic requirements for a good marriage or relationship are a mutual desire to be in that relationship and a willingness to make it work.

One person alone cannot make a relationship work. Both partners have to want it to work and be willing to work on it. Each must have the same goal and each must try to achieve that goal.

For Syd and Carmy, their mutual goal is to have a restaurant (family) that functions differently, well, and healthy than what they're used to, and since the beginning, Carmy and Syd have had this desire to make their relationship work. When Sydney comes back, it solidifies the desire for a partnership.

But to our surprise- Carmy's tune changes; he runs into Claire and falls off his goal in Al-anon and focuses instead on things outside of the union. At times, it seems Carmys is checked out; this surprised some of the fandom since he was so excited about this partnership in the season one finale and at the beginning of season two. But the desire to make a relationship healthy does not mean all days are good days or that desire is there all the time:

Willingness to be in the relationship may ebb or flow. In other words, there may be days when your attitude is such that you become indifferent to being in the relationship or lazy about upholding your part of the relationship. But, these attitudes are usually a temporary thing and they will pass. There may also be days inwhich your partner has the indifferent attitude or is seemingly unwilling to work on his/her part of the relationship. These feelings and situations are not uncommon among us.

Thinking about 2x03, Richie tells his daughter, "I love Taylor Swift too. I just needed a break." And this cuts to Carmy getting a phone call from Claire. His distraction. His unwillingness to continue working on his relationship is normal. Still, it fades and is based on principle tradition II, though Carmy sometimes needs help to make it work. He also plays the dominant one or god when making the decisions in the partnership.

When one partner speaks for the relationship or partnership without consulting the other (playing God), he/she then becomes responsible for the growth or lack of growth of that relationship...This situation is especially true when the one being dominated is afraid and unsure of himself and wants someone else to be responsible for all the decisions, thus absolving himself of any kind of mistake or failure.

When one governs the relationship, or there's a distraction in making the relationship work, based on traditions, it's important to take inventory of the union and the person's attitude in order to get back on track, and Sydney does just that when Carmy governs the decisions- chaos menu or his resistance in calling the fridge guy.

When we allow outside things to divert us from our goal of making our marriage or relationship work, we create confusion and thus dilute our relationship and its unity. This can be done easily by our self-centered fear or self-centeredness in any aspect. When we pursue our own interests to the exclusion of our partners, this is not healthy.

Interestingly, al-anon traditions speak on hobbies carried to an extreme extent, extramarital affairs, or unfaithfulness (Claire)- really anything that diverts the individual from the goal of unity.

In al-anon, when an individual diverts from the goal of a healthy relationship (union), it suggests they fix their minds on the traditions, use the 12 steps that change their lives and relationships for the better, and refuse to allow distractions to confuse them.

Looking at these principles and their emphasis on healthy relationships, I wonder if Carmy will dive deeper into al-anon or if his quest for fun and joy and his perceived failure to maintain it causes him to steer away from al-anon season three.

But in a way, Carmy's mistake causes him to vow against any other distractions in his life- this could be positive- but Carmy's crippling anxiety can't see the good in the focus on the restaurant and Sydney. His mindset sees this as punishment for the 'bad' he caused on opening night.

That's really the question of season 3. Will Carmy and Syd become a union, or did the season finale foreshadow a parting? Will Carmy's mindset change? Will al-anon continue to play an important role in Carmy's development?