So, I spent the last week rewatching* Deadloch to determine if it really is a fair play mystery, and my answer is: yes, kinda. Yes, in that you do get all the information the detectives do before the reveal (though sometimes the information will be withheld for a scene or two for dramatic effect). Kinda because the clues given in the first seven episodes** are not enough to point the finger at the murderer without looking at the show as a piece of art, and considering what its themes are and which of the viable suspects would best reflect those themes. Specific spoilers under the cut. Do not read until after you have watched Deadloch, which you should do as it is amazing.
*reading the subtitle files and watching a few key scenes
** I'm not including the 8th episode, where the killer is revealed, because by that point you're not getting clues, you're getting answers.
Every clue I noticed that implicates Ray, with commentary
(episode one) Cath mentions going to treat Ray's pet: Not super useful, as we see Ray with Lou later, and learn that Lou is old and likely to need medical treatment. It doesn't mention the pentobarbital, though presumably Lou is Ray's excuse for getting it from Cath. It also gets his name in the show right away.
(episode two) When Ray takes Eddie to the shack, he mentions Skye O'Dwyer is his best friend. We also know he works for her mom at the bakery, and seems to care for the whole family. So when we start considering who would kill Sam O'Dwyer, he's definitely close enough to the family to be a suspect.
(same scene) We learn Ray isn't from Deadloch, but has been living there for some time. But the line is vague on when specifically he moved. It would have been helpful to know he moved before Sam was killed.
(same scene) Eddie lets Ray know she's leaving as soon as they find Sam and his boat, where she thinks (correctly) the murders happened. It's not a secret, but he's the only non-police character we're shown specifically being told this information.
(episode two) Ray doesn't have any lines after he leaves Eddie at the shack, so I watched the end of the episode and he doesn't rejoin the other main characters at the Bush Wolf. Not suspicious in and of itself, but if you go back and look for alibis, it's clear he doesn't have one for planting Sam's body/setting the boat on fire
(episode three) Sam's body is planted immediately after Eddie keys in on him as a suspect. Amusingly, this seems to be less about Ray wanting to show he's smarter than to cops and more about making sure Eddie stays in town.
(episode three) Eddie again tells Ray she's leaving as soon as they have the DNA match, then leaves him after taking a swab. The next guy in line goes to Ray to get swabbed for the test. This implies it's possible he didn't submit his sample and that's why the blood on the boat didn't match him. It's also possible that the blood was from a previously undiscovered victim. I don't think we ever find out which was the case. My assumption is the latter, because why would he hand over a DNA sample if it might implicate him?
(episode four) Kind of an anti-clue: Ray at the beginner swimmer class. An experienced sailor isn't necessarily a good swimmer, and he used a boat for the first five (discovered) victims. Of course, this turns out to be a lie and Ray's actually an accomplished swimmer, but it doesn't make sense that he'd be pretending to need lessons.
(episode five) Ray is one of the first people to find Jimmy's body and reports it, fits with killer wanting to see other people reacting to his art.
(episode five) Another anti-clue: Ray vomits when he sees the body, and again while telling Eddie about it. The character might have been able to fake it that first time (he was preparing food, he could have snuck a slurry into his mouth like the actor actually did) but I think the character had to be genuinely vomiting the second time.
(episode five) Even with my glasses on I couldn't read the list of names the priest faxed over while it was on the tv. Taking a screenshot and zooming in gave me a better look, but while one of the names looked like it might have been Ray McLintock, it wasn't clear. Given that Eddie didn't know his name (he told her when she took his DNA, but it didn't stick) I think it would have been fine for us to see his name on the list, but not have it ping with her. (Spouse and I were calling him "Ray Pies" when we talked over the episodes, so I doubt the name would have pinged for me, but it would have been nice to have confirmation he knew about the religious stuff).
(episode six) “I’ve made some mistakes with women, and I’ve had some pretty weird interests” okay, it's not much of a clue by itself, but in retrospect, yeah, I think he has.
(episode seven) The six extra bodies surface and it turns out they were frozen and had defrosted over the last forty-eight hours. This means the killer started to defrost them around the time of the DNA testing. Also when Eddie told Ray she'd be leaving soon.
(episode seven) Eddie admits to actually liking Ray. She's a mess with shitty taste, there had to be something wrong about him.
That's pretty much it for clues within the show. It's not a lot, and I'd argue it's not enough to consider the mystery solvable. It's fine when clues don't seem to be relevant before you know who done it, but I think they need to be a little more conclusive when you look back over them. In the first seven episodes we don't know that Ray has access to pentobarbitol, or that his pet is still alive, or about Sam not being his first kill. At no point do we find out where he was storing those frozen corpses for years (sure, Skye has a cool room for her restaurant, but she would be using it) or how he got his hands on William Carruther's old car. And we don't know he moved to Deadloch before the murders began until we find out he was committing them.
Still, if you start with the theme of reinvention, and you eliminate suspects based on definitive alibis and not psychological profiles, Ray is one of the better suspects left, especially if, like me, you'd been assuming Margaret killed her brother from the moment we heard he'd left the country. Ray being the killer wasn't a shock, but I didn't know ahead of the scene in episode eight where Eddie finds Lou, even if I joked about Ray being the killer because Eddie liked him. So in conclusion: fair play, kinda.
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Aemond claiming Vhagar gets a little more layered when you realise that her and Caraxes are the only dragons those girls have known properly when it comes to dragon bonds. Like Baela has moondancer, but Rhaena specifically is being ignored by her father for the most part because if she didn't hatch a dragon egg, that means she could claim a dragon which would mean going back to Westeros.
Which is something he's clearly avoiding. Laena has to comfort her saying there are many ways to claim a dragon because Rhaena thinks they'll abandon her for not having one.
So when the dragon her mother has had her entire life is 'stolen', the exact meaning is that that was her mother's dragon, she doesn't have the understanding that Aemond does of going to the dragonpit and looking for dragons to claim.
To her, Vhagar was a family dragon, her family specifically, and the best chance she would have to claim one like her mom said.
Again, her dad ignores her and makes it seem like there's some hierarchy when it comes to hatching dragons and claiming them and not hatching them at all simply because he doesn't want to go back. He doesn't want to help her claim a dragon in King's Landing because he's a selfish bitch.
Aemond does not see it that way because of a similar inferiority complex, that the world's largest dragon could help absolve, and because he has the understanding that dragons aren't inherited. He is also aware that he's at a funeral and that the reason Vhagar is unclaimed is that Rhaena is mourning her recently dead mother.
I think my point is to blame Daemon and Viserys for being evil little men really and giving their kids or facilitating environments where their kids feel inferior based on their own targeted perceptions based on nothing over dragons and dragon bonds. They are responsible.
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We were seated by the fire, as just now described, and Miss Havisham still had Estella’s arm drawn through her own, and still clutched Estella’s hand in hers, when Estella gradually began to detach herself. She had shown a proud impatience more than once before, and had rather endured that fierce affection than accepted or returned it.
“What!” said Miss Havisham, flashing her eyes upon her, “are you tired of me?”
“Only a little tired of myself,” replied Estella, disengaging her arm, and moving to the great chimney-piece, where she stood looking down at the fire.
“Speak the truth, you ingrate!” cried Miss Havisham, passionately striking her stick upon the floor; “you are tired of me.”
Estella looked at her with perfect composure, and again looked down at the fire. Her graceful figure and her beautiful face expressed a self-possessed indifference to the wild heat of the other, that was almost cruel.
“You stock and stone!” exclaimed Miss Havisham. “You cold, cold heart!”
“What?” said Estella, preserving her attitude of indifference as she leaned against the great chimney-piece and only moving her eyes; “do you reproach me for being cold? You?”
“Are you not?” was the fierce retort.
“You should know,” said Estella. “I am what you have made me. Take all the praise, take all the blame; take all the success, take all the failure; in short, take me.”
“O, look at her, look at her!” cried Miss Havisham, bitterly; “Look at her, so hard and thankless, on the hearth where she was reared! Where I took her into this wretched breast when it was first bleeding from its stabs, and where I have lavished years of tenderness upon her!”
“At least I was no party to the compact,” said Estella, “for if I could walk and speak, when it was made, it was as much as I could do. But what would you have? You have been very good to me, and I owe everything to you. What would you have?”
“Love,” replied the other.
“You have it.”
“I have not,” said Miss Havisham.
“Mother by adoption,” retorted Estella, never departing from the easy grace of her attitude, never raising her voice as the other did, never yielding either to anger or tenderness, “Mother by adoption, I have said that I owe everything to you. All I possess is freely yours. All that you have given me, is at your command to have again. Beyond that, I have nothing. And if you ask me to give you what you never gave me, my gratitude and duty cannot do impossibilities.”
“Did I never give her love!” cried Miss Havisham, turning wildly to me. “Did I never give her a burning love, inseparable from jealousy at all times, and from sharp pain, while she speaks thus to me! Let her call me mad, let her call me mad!”
“Why should I call you mad,” returned Estella, “I, of all people? Does any one live, who knows what set purposes you have, half as well as I do? Does any one live, who knows what a steady memory you have, half as well as I do? I who have sat on this same hearth on the little stool that is even now beside you there, learning your lessons and looking up into your face, when your face was strange and frightened me!”
“Soon forgotten!” moaned Miss Havisham. “Times soon forgotten!”
“No, not forgotten,” retorted Estella. “Not forgotten, but treasured up in my memory. When have you found me false to your teaching? When have you found me unmindful of your lessons? When have you found me giving admission here,” she touched her bosom with her hand, “to anything that you excluded? Be just to me.”
“So proud, so proud!” moaned Miss Havisham, pushing away her grey hair with both her hands.
“Who taught me to be proud?” returned Estella. “Who praised me when I learnt my lesson?”
“So hard, so hard!” moaned Miss Havisham, with her former action.
“Who taught me to be hard?” returned Estella. “Who praised me when I learnt my lesson?”
“But to be proud and hard to me!” Miss Havisham quite shrieked, as she stretched out her arms. “Estella, Estella, Estella, to be proud and hard to me!”
Estella looked at her for a moment with a kind of calm wonder, but was not otherwise disturbed; when the moment was past, she looked down at the fire again.
“I cannot think,” said Estella, raising her eyes after a silence “why you should be so unreasonable when I come to see you after a separation. I have never forgotten your wrongs and their causes. I have never been unfaithful to you or your schooling. I have never shown any weakness that I can charge myself with.”
“Would it be weakness to return my love?” exclaimed Miss Havisham. “But yes, yes, she would call it so!”
“I begin to think,” said Estella, in a musing way, after another moment of calm wonder, “that I almost understand how this comes about. If you had brought up your adopted daughter wholly in the dark confinement of these rooms, and had never let her know that there was such a thing as the daylight by which she had never once seen your face—if you had done that, and then, for a purpose had wanted her to understand the daylight and know all about it, you would have been disappointed and angry?”
Miss Havisham, with her head in her hands, sat making a low moaning, and swaying herself on her chair, but gave no answer.
“Or,” said Estella, ”—which is a nearer case—if you had taught her, from the dawn of her intelligence, with your utmost energy and might, that there was such a thing as daylight, but that it was made to be her enemy and destroyer, and she must always turn against it, for it had blighted you and would else blight her;—if you had done this, and then, for a purpose, had wanted her to take naturally to the daylight and she could not do it, you would have been disappointed and angry?”
Miss Havisham sat listening (or it seemed so, for I could not see her face), but still made no answer.
“So,” said Estella, “I must be taken as I have been made. The success is not mine, the failure is not mine, but the two together make me.”
Great Expectations, ch. 38
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