Posts tagged Emily overanalyzes things
Posts tagged Emily overanalyzes things
sORYY CAN WE JUST TALK ABOUT THIS FOR A SECOND
Okay, so what we know about OQ is that Robin is Regina’s SOUL MATE, never were the words true love mentioned by Tinkerbell and as we know wording means a lot!
Guys, Regina doesn’t have her heart, so she’s feeling with her soul. She’s acting on impulse, she’s had a tough day and she wants to snog a guy she’s just met, I mean sure that seems legit- right A&E?
I’m convinced OQ is NOT endgame. Did anyone see a curse break when they kissed? Anyone? (Lol nopee)
Alsoo can we talk about the little Emma- oh shit I have to hold my wife’s hand- Swan… Like seriously they look married in that scene.
(Fffs unintentional my ass).
I reckon things are going to change when Regina gets her heart back, js.
Basically, we’ve had a really tough time in swen. People are losing hope. All the hate. This past week I’ve been debating to stop watching, but then I started to re-think all the swan queen theories we have, the magic lessons, the eye sex, the parallels..It just makes sense. It’s the ONLY thing that makes sense to me. It’s the way I see ouat finishing.
I just hate that this is another thing that wasn’t exactly Regina’s choice. She’s just going along with yet another thing that was dictated for her, by a force beyond her control. She’s had this idea planted in her mind that this is what’s meant for her, or what’s good for her, etc, etc. But how long is it going to be until we finally see Regina making romance decisions /truly/ for herself. And not because of pixie dust, or expectations of happiness, or cruel mothers whispering in her ear.
Literally what’s happening though, is to me, exactly the opposite of what you’re saying though. Robin has no idea about this whole fate thing or what Tinkerbell did. Regina could very well say ‘FUCK THIS I’M OUT’ and Robin wouldn’t know if it was because she was into Emma, or llamas, or whatever, he’d just be rejected.
But instead, Regina has decided ‘No, you know what, I’m doing this on my terms, and keeping this information about soul mates to myself and see how this plays out.’ For once, she has the entire upper hand and she’s going for it. No one’s telling her she has to do it. No one’s forcing her into it. She has all the power, literally.
Also, I don’t think Regina runs away from Robin in the witch’s cabin because she sees the lion tattoo and gets scared. I think she gets scared because she sees the lion tattoo on a man who she’s been flirting with, who she actually finds attractive, who doesn’t think she deserves the title of “Evil”. She can’t admit to herself that she likes him; that’s her essential fear and reflex—running away so she doesn’t get hurt. Because if he makes her laugh, is attractive, if he gets her, then maybe Tinkerbell was right about wasting her chance at happiness all those years ago. And to Regina, who has spent the entire show trying to find her happiness (the curse, Henry, etc.), here’s another reason she doesn’t “deserve” it, should just go back to being Evil because the world won’t let her be good and happy anyway.
In 3x18 I think she finally comes to terms with the idea that if she likes him, she should just go for it. Soul-mates or not (and, she’ll admit, they probably are), he doesn’t think she can only be Evil. One of the things I think she’ll have to learn as their relationship continues is that just as he is her soul-mate, she is his. She needn’t be so afraid to approach him, to hold onto him too hard. He feels it, too.
I just realized, as I’m working on my Secret Santa Matthew/Mary, that I have a habit of writing Mary in physical darkness when she needs to be honest. I’ve always been a “night owl”, someone who loves the time that stretches past sunset, as the world goes to sleep and, if I’m lucky, calmness and clarity settle over the thoughts that have been swirling in my head all day. I think many of us feel this, the safety of darkness, the way it beckons us to give something of ourselves back—to our loved ones, or to ourselves—some morsel of truth. What a lovely thought, that the time of day which humans have historically feared can be a place for freedom.
the best of the Doctor
⇨ the doctor’s daughter
This scene for me is one of the essential facts of why David Tennant is a brilliant actor. You know that the Doctor (this one anyway) never would. Ever. It’s a rule, a faith. An unalterable, undeniable fact. But when his face breaks and he grabs that gun, for one horrifying, dizzying second, you believe that he would.
If you don’t know what happened in the Christmas Special, you should stop reading this post now.
Before I begin, I just want to explain that I do not write this post in order to place blame onto anyone or claim victimization at the hands of real people for their effects on fictional ones.
But what I am is angry, and I want to articulate why.
We watch and read and listen to entertainment for a very good reason. Every day, in our ordinary lives, there are rules. One reality exists at a time, and it is how it is, governed by the laws of physics and time and experience. We are, however happily or unhappily, stuck there.
What a book or movie or song allows us to do is escape. Not in the sense of running away, but rather more in the sense of journeying deeper into ourselves. We see what could be, what might be, what isn’t, but would be wonderful if it was.
We see and hear things that are not concrete, that do not exist or perhaps never did, and, if we’re lucky, we feel that they do, anyway.
These things do not always have to be happy. In fact, they would mean very little at all if they were. They should be sad, sometimes, too. Tragic, painful, unsettling. But also hopeful, and intelligent, and triumphant.
When they are all of these things they are like us, defined as much by the good things as by the bad. They say something about the human condition. Something beautiful, with a little kernel of truth. We may not always be happy, but, at the very bottom of the Pandora’s box of our existence, if we look hard enough, there is always, always hope.
This lazy, flippant destruction of a character and a relationship that was this for us—that showed us how people can change and how life can take a turn for the better in the most unexpected ways—is angering. That story uplifted us in that imperfect way. A lonely, bitter, intelligent woman grew into a fulfilled and happy (and still as intelligent) one through a love that was as unexpected for her as it was for us. Now that guilt she sometimes feels, for keeping them apart much longer than they should have been, will be eternal. It will plague her for the rest of her days, as she soldiers on with her child, falling somehow back into her bitterness.
And don’t get me started on the young man who survived a war, paralysis, and the Spanish flu only to fall literally under a bus. Who apparently existed only to produce a child so that he could disappear from the story?
Things like this, I suppose, can happen.
But in drama, in a place where we desire to believe that intelligence defeats force; beauty, cruelty; love, hate; and good, evil, showing the opposite feels awful and wrong because it is. The real world is disappointing enough without imaginary ones growing to be the same. Harry Potter doesn’t end with Harry or Ron or Hermione dying at the hand of one of Voldemort’s last surviving followers. Les Miserables doesn’t end with Marius and Cosette tripping and meeting their end under a rushing carriage on their wedding day. Both of these stories have their share of sadness and death.
I am not mad because a favorite character died. I am mad because a beautiful idea is over. Downton Abbey, which used to be about basically good people trying to make their way in the world, about how, in the end, against all odds, even the saddest, loneliest people deserve true love, is about nothing at all. It is about chance and situation and the lack of control that we have over our own existence. Its plots feel forced and immaterial because they are, because the fourth wall is broken, and we know exactly why they did what they did, we know it served no story that anyone truly wanted to tell.
And this is not uplifting. It does not say anything worth hearing about the human condition. It is, quite simply and disappointingly, sad.
The worst part, of course, is that now, all the wonderful, uplifting, happy bits from before are forever embittered by this shallow end. A good story told well until the very end is no good story at all. I mourn not so much the character, because he is not real, as I must remind myself, and can exist anywhere in my mind, but the story, because it died just as surely by that car as he did. Something beautiful and hopeful is gone, perhaps through no fault of any one person, or of any person at all. But I mourn that it is gone because it was, for a time, truly wonderful.
My 3x02 favorite Matthew/Mary things…
Got a submission from socratesartresinatra regarding the recent spoiler and the possibility of Mary’s involvement in it.
My two cents
I think what I’m most excited about for this series of Downton Abbey is that we’re going to see parts of our protagonists’ lives that we usually have to simply imagine. In other period works, whether they are adaptations of Austen or of a more modern novel or originals, the story of the chauffeur and the Earl’s daughter would end with that Earl’s blessing, of the villain Thomas with his banishment from the house, of the head maid and the wrongfully accused valet with his escape from death, of the lonely daughter and a family friend with their engagement, of the scullery maid and her sweetheart with his death during the Great War, and of the heir and the eldest daughter with a spinning embrace in the snow. That we get to watch all of these stories unfold into the future, into marriage and children and the changes that life brings, is as unique as it is thrilling.
Matthew & Mary || I would never be happy with anyone else as long as you walk the earth
I love the progression of their body language in these, as well, and in particular Mary’s. In the first, she’s barely touching him, in the second she does so only after a pause, but in the last it looks natural and second nature, as though she is aware of her right to touch him whenever and wherever she wants, and relishes in that right.
The last meme I posted on LJ asked an unpopular opinion about a character I was given. The lovely eolivet gave me Matthew Crawley and my unpopular opinion about him was that I believe his break up with Mary in 1x07 was his fault as well as hers. Maybe that’s because Mary is my favourite…
I agree with so much of this.
If I may, I just have a few things to add.
I think Mary’s hesitance about the first proposal is not mostly about Pamuk. That factors in, certainly, but there are other, equally important reasons. For one, she’s been essentially engaged to Patrick, who she did not love, since childhood. This hardly inspires a belief that she should marry for love, regardless of the consequences. She “could never marry any man she was told to,” and yet here he is, the heir to what should be her estate, so it’s hard to believe in herself that she truly loves him, because her pride in making her own choices despite her situation gets in the way. I think there is a Michelle Dockery interview where she says that the moment Mary realized she truly loved him was the moment he walked away at that party. This suggests that she needed that sort of affirmation to be sure of her feelings. Matthew doesn’t, and couldn’t imagine why she would. How very middle class.
She also has the pressure from Rosamund to reject him while his future is insecure, and while she doesn’t agree with it, some part of her thinks she should.
The thing that is so tragic about their break up is that while Mary hesitates because she does not have quite enough faith in her feelings, Matthew loses faith in her feelings himself and pulls away.
As you said, Isobel says what she does to Violet because, from her view, two people who love each other are denying themselves marriage because of their own stubbornness. She’s right.
Isobel’s opinion changes because she is always on Matthew’s side. When Mary causes him pain, Isobel doesn’t like her, but if that same person can bring him happiness, Isobel is happy to encourage him to fight for her.
But at the same time, that leaves the issue in the second series, where Mary and Matthew and Isobel seem to blame Mary for the break up. I think, first off, that Mary throwing him over is how Matthew and Isobel have come to reference it, because from their perspective, that’s what happened. When Mary seemed as though she would accept him and then hesitated when he had the chance of losing Downton, what could he do but doubt her feelings? I think the dancing in 2x08 addresses this a bit, though, because I think part of his apology is for that view. Because given all the pressures she’d had on her back, what else could she have done? So they were both trapped, really. they were both at fault. Mary should have believed in herself, and Matthew should have believed in her. (Ignore what she says; pay attention to what she does!)
In a note about the second proposal, I think he is both sure and unsure. He’s sure of their feelings, but he’s not sure if that will be enough (it wasn’t before, and their feelings were unacknowledged then, too). So he knows, for example, that the truthful answer to “Do you love me?” is “yes”, but he does not know if that is what she would say if he asked. I think his smile in that scene is about determination. He loves her and she loves him and they both know it, and he’s going to stand out there and dispense with every argument she comes up with against their happiness, as he seems to have done in his own mind in the past few days, until they stop dancing around their feelings.
He’s also smiling because he loves her, and he knows that she’s been waiting on him to do something about that for weeks, and has basically begun to give up hope, to think that Pamuk or his guilt have given them no chance. Of course it makes him happy to tell her that those last two things are true, because if she loves him, and he knows she does, knowing those things just might make her happy, too.
I agree on both points. Bear in mind that my post is basically from Matthew’s point of view and from Isobel’s, who basically knows what he knows (at least regarding the first proposal). But I agree that the first time Mary wasn’t sure of her feelings, especially after her mother got pregnant. She did tell the truth when she said she needed more time, but remember that Matthew answers to this by telling that she was sure. We don’t know what happened between 1x06 and 1x07 between them, we only know that they went along so well at Sybil’s ball that Matthew thought she was sure and the whole family thought the engagement was sure.
Also what’s the first thing Mary tells her mother after Matthew proposed? “I have to tell him” which speaks very well of what’s the fist ‘problem’ that comes to her mind when Matthew is involved. And after that she confesses she loves him, have loved him for some time.
So basically I think there are many factors that held Mary back and only after they broke up she understands that in the end any of those mattered and how much they costed her. That’s why I’m convinced that while Matthew comes to think, at some point, that he was at fault too, Mary will always blame herself and only herself.
About the second proposal, I’ve never thought about it that way, but you’re perfctly right. He’s sure of their feelings, but can’t know for sure if they will be enough or they’re both too damaged to have a chance. It makes so sense :)
Yes, I absolutely agree. Pamuk is the first, most obvious issue, and probably the biggest one that occurred to her that night. The others don’t occur to her until later. She blames herself. They’re both such martyrs sometimes. :)
It is interesting, that we missed those few months between 1x06 and 1x07. I remember thinking that part of why the M/M ending for the season was so distressing was that they were over really before they had begun, at least from our perspective. I wonder how she behaved with him, to make him so sure. It’s an interesting part of their “luggage” that we will never see.
does anyone else love the way Mary holds Matthews cheek in the Christmas Special! hkngjasdnglkbm perfection
Yes! There’s something about it, maybe in parallel to their first kiss, where her hand was barely touching him, that’s so sweet. She can’t hold on tight enough, and not just to his arms or shoulders or jacket or something, but to his face, to the fact that it’s him, finally.