The creative choices on the show are as subjective as each of the viewer's interpretations.
I think a lot of why I personally feel deeply uncomfortable n resistant is the asymmetry.
I get the need for variety. The same thing may be expressed differently for different characters. A healing journey will differ from person to person. Each step is also taken on a personalized timeline.
But I can't help but think of the asymmetry of how the show dealt with Mason vs Beckett n even Dixon. They condemned Mason immediately at his worst but dug deep to show the sides of Beckett n Dixon that were still human despite it all.
The trigger shot scene with Beckett felt like 0 to 100 in his reconciliation with Maya. It felt like a 12-step program of which he skipped many steps when it came to Maya. From the get-go, we saw a sexist, incompetent captain who was demeaning to his team n constantly put them under stress n in danger, on top of endangering civilians n even equipment. For months, we saw this middle-aged man in a position of power, take perverse joy in bullying a younger female subordinate to appease his ego. That was workplace harassment. He also took out his unresolved trauma on the people around him, in this case, people he had authority over. Alcoholism was not the sole reason for all his bad behavior. Even if it was, it should not be used to excuse it.
The team, esp Maya, was trapped in this hostile work environment sanctioned by the female chief. This was a more common n insidious manifestation of toxic masculinity, one that was amplified by his position of power, n sometimes even supported by women, when their goals aligned in the power struggle.
Yet the show gave so much more grace n compassion to the bullies than the bullied. The team treated Beckett n Ross with more kindness n respect than they earned, n less kindness n more apathy towards Maya than she deserved.
Then he was given a long, carefully constructed redemption arc, while Mason, a rushed condemnation arc.
It felt like 100 to 0 with Mason. We saw Mason briefly in earlier seasons, mainly thru the eyes of Maya. We missed a lot of the in b/w. We caught him again at his worst. We only saw the side that was full of hate ideology, but not his side that was also human. We knew about his addiction n homelessness. But we didn’t see how as a young abused person w/o positive role models n a support system, he was vulnerable to these hate groups, which he clung to, when offered him just a semblance of belonging or respect. He had not learned to let go of his resentment of their parents n Maya but taught to transfer this unresolved hate to fill a meaning void.
The scene itself b/w Maya n Mason was great. It was an urgent n imperative story to tell. Maya's actions were right n necessary. But in the bigger scheme of things, it felt like a quick tie-up of loose ends, of a once-beloved brother, who came n went abruptly. Despite it being a logical narrative choice to wrap up the nature/nurture discussions of Marina n discovery that Maya's deepest fears about herself manifested in her bro instead. It's heartbreaking n yet disheartening that it was again about queer hate when it came to another main queer character on the show.
It is just jarring to juxtapose Mason with Beckett in 703 then 707. Also juxtaposing his empathy towards Maya with the lack thereof from the others, despite everyone having just been thru 706 n having witnessed Maya's breakdown. So, in a way, I see the actions of these characters as being designed with the goal to emphasize Beckett's empathetic side, in support of his arc.
When looking at a scene with 2 scene partners, what it is really about? Who it is really for? Would the scene be the same if one is replaced?
There are many different takes on this. For me, it was really about Maya, but choosing Beckett as the scene partner made the scene more for him. If it were for Maya, other scene partners would be more meaningful n realistic. Esp those who earned their right for her to be vulnerable with. Maya, who bottled her feelings, let alone spill her deeper emotions, to someone whom she never had a proper conversation with, not to mention a fraught shared history. To add, alone in a small enclosed space, while administering a shot that made her even more vulnerable.
For the realism argument, this was not more realistic to me than having Carina, for a show which took a lot of liberties. It was a choice to design the circumstances to make Carina n the others unavailable n combine 2 scenes together. Carina's also Maya's life partner n best friend. A more realistic choice for Maya to share this devastating heartbreak n grieving process with. It was a big aspect of their marriage. We saw many discussions b/w them yet when it finally came to the conclusion, it was with the least likely person, an almost stranger.
I see the trigger shot as part of Marina's baby journey I wish we get to see them undergoing together. It reminded me of 5b in that Marina's story about their own baby journey - again with someone of a fraught shared history, of a different nature - was more about him n to lead to his own bio family story. Marina's story was messy n got nowhere. And here we r, seasons later, rushing thru it.
It's not that Maya/ Carina or Marina should not have scenes with others. It's that it's usually more about the others even if it's their storyline. Or they r the backdrop for others' drama. They either isolate Marina or suddenly include them or one of them in an in-depth discussion of their private matters with others, usually something we hear about for the first time. I just don't remember something like that happening with other characters. Is it too much to ask to see a married w|w couple, with little screentime, share a meaningful conversation or moment first, also or exclusively? We so rarely see such a rep on TV. The show is not about Marina, but shouldn't their own story reasonably prioritize them?
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SOMETIMES FANS COULD BE A LITTLE INCOVENIENT ALRIGHT... EP TREASURED THEM ANYWAYS.
To illustrate the story, pictures of Elvis with fans in 1957.
CONTEXT: Graceland, Memphis, Tennessee during Christmastime 1957 -- One day, Elvis and his gang were driving down the gates on their way to the Rainbow Skating Rink. Arlene Cogan was sitting on the passenger seat next to Elvis, who was driving his big black limousine while other friends were on the back seats and a few more on the line of cars following them close behind.
Elvis eased the long limousine into the swarm of fans around the front gate. He stopped directly by a girl in a wheelchair and rolled down his window. He reached out his hand to her and she touched it. "How you doin', darlin'?" he said with a big smile.
She said something but all the talking around her drowned it out.
People began shoving pieces of paper through the window at him. The caravan of his cars behind us stopped, headlights in a curving line down the hill.
Elvis didn't carry a pencil or a pen. People gave them to him and he wrote his name and handed them back. Every kind of piece of paper came through the window. Torn out pages of books. School notebook paper. Department store bills. Novels. Pictures. Candy wrappers. Autograph books.
And everybody was asking questions about Elvis' tours, his movies, his girlfriends, his Christmas plans - everything. Girls kept telling him how "gorgeous" he was.
Elvis looked across at me. He shook his head. "Can you believe all this?" he said.
Girls even stuck their arms through the window for him to write his name on.
Elvis was not annoyed in any way. He just loved it all.
"If it wasn't for these people," he said, "I wouldn't be where I am today. I'll never forget them."
A bare, dirty little foot came through the window. It nearly hit Elvis in the face. There was a pen stuck between two toes. Elvis took the pen, wrote his name on the bare leg and shoved the pen back between the toes. The leg withdrew through the window.
Elvis rolled up the window. "Thanks," he said. "Merry Christmas."
Fans stayed pressed up against the window. From the other side they stared curiously at me and tried to see who else was sitting in back.
Elvis eased the limousine forward through the crows and out on the highway and headed north. The caravan of headlights followed him.
"It's unbelievable," he said. "It never ceases to amaze me."
Excerpt "Elvis, This One's for You" by Arlene Cogan; Chapter 4: "A Call From Memphis"
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