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The icon says it all

Don't have time right now for a proper commentary post, but I have to make one point or my head will explode. Probably somewhere over the Atlantic, and they just don't pay flight attendants enough to deal with that.

Okay, so Mitchell is going along with whatever Annie wants because it's Annie and it's what she wants. I totally get that. He's never been good at saying no to her, and now he's just plain constitutionally incapable of it. I understand.

But oh my stars and candy-striped garters, he should NOT be let OUT of the HOUSE!!!

What I'm about to say isn't fair to Annie, but there's no "fair" in the equation when it comes to keeping someone in your life who is severely mentally ill, and that is what we're talking about here. I hope like hell this near-miss has made a dent in her denial, and that she has at least an inkling that when Mitchell looks at her like "Are you actually saying that, or have I graduated to full-on hallucinations?" that it quite probably means "If I go along with that it will lead directly to someone getting dead."

Mind you, it is perfectly fair to her, in terms of the actual specific "shag a stranger and pretend she's me so I can go along for the ride" idea, to say "Are you HIGH? Can ghosts get high? Because OH MY GOD."

I'm a little worried that Mitchell's explanation -- which made about as much sense as can be made of what happens in his head under those circumstances -- left a loophole for her to hide in by claiming that sex has never been about love for him, that it is only a weapon for the hunt. Because Annie might not know everything about his relationship with Josie, but she watched him sit there grinning like a goober the morning after Lucy. She knows the statement isn't 100% true.

As much progress as she's made, Annie is still predisposed to the "I can fix him" mentality. And Mitchell is not even remotely equipped to explain to her what those exceptions were about, the way he positioned them as talismans against the bloodlust, so it was still about that in a way, and only worked for a little while.

I... think I can deal with where the two of them are with each other right now. We'll see. So far it seems not so terribly different from where they've always been, and that's okay.

Mitchell? Individually? PADDED. CELL. I am so not kidding.

Comments

( 15 comments — Leave a comment )
bktheirregular
Feb. 16th, 2011 01:56 pm (UTC)
Yeah, exploding heads on transoceanic flights are generally not considered a good thing. :)
wiliqueen
Feb. 16th, 2011 03:20 pm (UTC)
As a rule, no.
ghostinsweats
Feb. 16th, 2011 02:11 pm (UTC)
Mitchell:

Your incessant monologizing fills the castle with ennui. Your antic disposition is embarrassing to see. And by the way, you sulky brat, the answer is to be! You're driving poor Ophelia insane.

I'm reminded a little of the end of DR (Aidan Turner, fuck your characters. Always.) when Lizzie decides she wants a baby and even though Gabriel knows this is about the shittiest idea ever, beyond even just his commitment phobia, he's so bad at actually saying no to anyone's face that he's throwing away the condom in minutes. He can't say no, she's not picking up the slack and this is going downhill fast. I know they've got a lot of love for each other, but it's a disaster.

And yeah, Mitchell, individually, just no. Your antic disposition really is embarrassing to see.
wiliqueen
Feb. 16th, 2011 03:20 pm (UTC)
I kind of love you a vastly vastly lot right now.

Also, Geoffrey Tennant is approximately 300% saner than anyone else mentioned in this comment.
ghostinsweats
Feb. 16th, 2011 03:29 pm (UTC)
*beams*. I keep meaning to properly watch that show. I've only seen a little and it's in the house and now I want to marathon it tonight.

I keep thinking of Shakespeare this season. Not to mention, has Mitchell never seen any Greek tragedy in all his years of existence? DON'T TRY TO GET AROUND THE PROPHECY, YOU WILL JUST END UP SCREWING YOUR MUM ANYWAY.

Plus, of course, Annie really does need a sassy gay friend.

I think you're a disembodied dead girl and you're an idiot. You suggested a threesome with a blood fiend when you hadn't even slept together yet. Look at your life, look at your choices. He kills young girls just like you--not seeing the connection there? I don't want to hear it, Patty Hearst!
wiliqueen
Feb. 16th, 2011 06:23 pm (UTC)
Marathoning S&A is wise. You will NOT want to stop. I speak from hard experience.

I heart Geoffrey beyond the telling of it, and wish he didn't remind me quite so much of the artistic director at my old Shakespeare company in Columbus. (Of whom AT often reminds me of a younger version, just to make all this stuff more convoluted.) I watch the thing and just go "This is my life on drugs. Way less drugs than I'd really prefer." But oh, man, it's just so wonderful in so many many many ways.

DON'T TRY TO GET AROUND THE PROPHECY, YOU WILL JUST END UP SCREWING YOUR MUM ANYWAY.

And that's not even getting into "YOU ARE IMMORTAL YOU IDIOT, for all you know it won't even happen for another 500 years!"

Lia, as agent of the Gatekeepers, is an instrument of the "long game." And I really want to know what purpose is served in that game by planting the ideas she did in both Annie and Mitchell.

He kills young girls just like you--not seeing the connection there? I don't want to hear it, Patty Hearst!

*splorfle*
ghostinsweats
Feb. 16th, 2011 06:41 pm (UTC)
Now I really want to do this tonight.

Your artistic director sounds--intriguing. And convoluted indeed. Theater is always so bats, isn't it?

My old stage director used to make us lie on the floor to relax and then give really spitty pep talks that resulted in essentially taking a shower, so it's no wonder I quit, really.

Lia did say "soon". But Lia can say soon. She can say whatever she wants. Only the prophecy *has* to be true and frankly, not even that. Who's to say she wasn't talking out of her ass, but Mitchell will make it happen anyway because he's decided to be Oedipus? Anything can be anything, as far as she goes. It's all very Greek indeed.

(This is Mitchell we're talking about here, Annie. There's definitely something rotten in Denmark and it's his piss poor attitude.)
wiliqueen
Feb. 16th, 2011 06:59 pm (UTC)
Your artistic director sounds--intriguing.

*g* John's never (to my knowledge) suffered a psychotic break in the middle of a performance. But he is brilliant and idealistic and a wee bit high-strung. And brilliant. (Please excuse video quality.)

Theater is always so bats, isn't it?

And yet it's home. Hence the S&A love, though I know loads of non-theatre people who adore it.

Your director... oh, dear. I'm on board (yay Linklater voice work!) up to the spitty part...

Edited at 2011-02-16 07:00 pm (UTC)
ghostinsweats
Feb. 16th, 2011 07:07 pm (UTC)
I'll on some level always consider myself a theater person. But I can't write and act. I'm aware some people do and that's great for them but something about the balancing of the different aspects of it has never worked for me. But shows like this are always going to hit home, anyway. In a lot of ways I miss it.

I'll have to watch that when I get home.

Stephen was not remotely normal and not even in a good way. He was sort of the rambunctious, had no idea what he was doing Goofus to our voice director's sleek, Yale Drama School teaching job Gallant.
brightknightie
May. 25th, 2011 11:23 pm (UTC)
UK BH S3 E4 -- Mostly Annie/Mitchell
Interesting that the Annie/Mitchell stuff is what struck you most in "The Pack"! I'm afraid that most of it rolled right past me, and I was much more taken with the action scene of Annie and Mitchell in the cage surrounded by werewolves (great reversal!) and the constructions of family, which are the heart of this story, I still believe, and they're at their best when addressing them (without majorly activating my squicks ~g~).

Annie exhibits an interesting mix of assertion and submission (please forgive the easily abused categories). We know from her last relationship that she does kow-tow and cower and even happily surrender her will and welfare in certain circumstances, but outside those circumstances she more often takes the lead, makes the plan, jumps off the cliff and brings others with her. She dominates through sheer enthusiasm and energy, and yet is the most utterly unlikely of leaders -- she's bad at it! and unequipped for it! And yet she repeatedly leads... at least in ordinary things, and that's important. Assaults on bad guy headquarters and such get led by other people, people who perhaps lack energy and enthusiasm, but have other traits suited to such moments...

And when it comes to romancing Mitchell... he lets her lead, with all that enthusiasm and energy and good intentions, but it's a disaster, because she is not equipped to lead into danger, and he is danger...

Apart from all that, I was struck, twice, by the thought that Annie wanted to take their relationship physical almost immediately. Granted, they've been roommates for years, it's not like they need to get to know one another, but... they went from first kiss to attempted intercourse in the space from tag to teaser. Is that how most relationships are now? Is that how they're supposed to be?

I don't like the idea -- thank you, Mitchell -- that a celibate relationship is necessarily more "pure;" properly mutual, loving, committed sex is pure, too. The either/or, all/nothing dichotomy is not worthy or wise (and as you note above, it's not as simple as Mitchell claims here, not even in his own canonical past!). But I did wonder why Annie wanted to move quite so fast, and I observe that they are not communicating at all -- at all! -- such that she utterly failed to understand, and he to convey, that Mitchell's request to cuddle was what he actually wanted, not something for which he was settling.
wiliqueen
May. 25th, 2011 11:45 pm (UTC)
Re: UK BH S3 E4 -- Mostly Annie/Mitchell
Less that it struck me most than that it worried me most, I think? I wanted to take up the family stuff, but it was more nuanced and had more to unpack, and I knew it would take more time than I had for this post. (Indeed, I expected this to be a quick paragraph, and you see what happened!) The rest of my life afforded me too little leisure for full-blown meta this season, alas, and I feel like the thoughts I had, and wanted to post about but never did, are no longer entirely in my grasp. Maybe on a rewatch, if there's time for one at some point. (Or perhaps someone else's thoughts to comment upon. *g*)

not communicating at all -- at all! -- such that she utterly failed to understand, and he to convey, that Mitchell's request to cuddle was what he actually wanted, not something for which he was settling.

This, exactly. And I can't answer your question as to whether that's how relationships are these days, though ultimately I don't think that there are any hard-and-fast rules. It does appear, for their particular segment of working-class-to-lower-middle-class British culture, to be more common than not. Even Nina, arguably the most mature and practical of the four, thought nothing of proposing sex during her and George's first date.

That said, very astute observation re: Annie's energy and enthusiasm. They're often remarked upon as character traits -- indeed, among the first listed by anyone describing her -- but in a static sort of way, not so much in how they prompt her and others to act, and where those actions lead. And that's an important thing. It makes sense, given her stated regret of letting her human life pass her by. That she's being the impulsive one in relation to Mitchell -- the poster boy, generally speaking, for failing to think things through -- is worth noting.

Edit: Clarification of first comment... The things that rattle around my head the loudest after any given ep are the ones that make me want to shake people, more than the ones that make me proud of them. And there was a lot in this ep that made me proud of them. I need to go back and remind myself just what it was.

Also, back to cuddling being what Mitchell wants: It's also what he needs. There's a direct correlation between when he's been most stable/functional and when he's been both giving and receiving of friendly, supportive physical contact. I'm tempted to think Annie missed that because it's a baseline for her... but it's not. She went a year between her death and the boys' arrival without being able to touch anyone. It's the last thing she takes for granted. So it's very curious indeed that she doesn't process the marked difference when Mitchell starts pulling into himself. Of all of them, his habits -- smoking, eating, body language -- shift most wildly and obviously over the course of various events.

Meanwhile, Nina (who was absent for most of the process of his disintegration through S2, and thus had particular reason to note the change) observes and comments upon it (to George, though not to Annie, perhaps a mistake), but seems to remain alone in that.

Edited at 2011-05-26 12:18 am (UTC)
brightknightie
May. 30th, 2011 09:00 pm (UTC)
Re: UK BH S3 E4 -- Mostly Annie/Mitchell
>"Or perhaps someone else's thoughts to comment upon. *g*"

We'll see where I land at the end of the season. :-) It's so close! Ack! Soon there will be no more new episodes to watch (for now)! I've doled them out fairly slowly...

An out-of-the-blue question for you at this point in the season, something I rarely notice, but which for various reasons has registered on me... I am objectively certain that they've changed up Annie's costuming, substituting two new variations of the gray garment at various times. I am not as certain, but I strongly suspect, that the actress who plays Annie lost weight before this third season. Is that something that is there to notice, or am I playing tricks on myself and it's just the costuming making this appearance of change? (Of course Annie, the character, cannot change in appearance as far as we know, though we have few enough rules for the ghostly in this universe...)
wiliqueen
May. 30th, 2011 09:30 pm (UTC)
Re: UK BH S3 E4 -- Mostly Annie/Mitchell
Lenora is definitely leaner. Annie's white tank top is different (with a slight shirttail hem instead of a straight one, and I think a somewhat different fitted cut, though I wouldn't swear to the second part) for sure, and they've expanded the variations on the grey sweaters.

In S1, that was limited to subtle stuff like whether the top layer (the "default" configuration has a sleeveless drape/wrap cardigan over a long-sleeved button-up one) was wrapped or not, occasionally open sections in one or both shoulder seams and along the binding at the edge, and presence or absence of the buttoned layer (in which case the sleeves go with the wrap cardi). The first dramatic change is when it becomes a cowl neck in 1.6, when she goes to rescue the human captives at the funeral parlor.

They got more creative with her in S2 -- notably the separate wrap/scarf at Saul's flat -- and continued that in S3. The sleeveless configuration with the ruffly bit around the neckline is new, as is the low-neck sweaterdress.

I think they've always more or less stuck to a sort of "conservation of sweater," i.e. there's always approximately the same amount of grey knit material, just in different shapes. It seems like there was a slightly different weight to the knit sometimse this season, tho.

Short answer: You're not imagining things, on any count. :-) Specific, observable variations.

Meanwhile, Aidan Turner is slightly but noticeably bulkier in the upper body. I suspect in both cases it's at least in part attributable to the (rather common in this genre!) hazard of hiring people at 22 and 25, respectively, to play characters who aren't supposed to change. Most people have a sharp metabolism shift at mid- to late 20s, and faces take on new angles, so that even if one technically weighs the same, the body will look different than it did just a year or two ago.

(Tangentially, I've yet to see this happen to anyone more noticeably than to Summer Glau between the first and second seasons of TSCC. Which is at least as problematic for a Terminator as for a ghost or a vampire! First season, Cameron looked perfectly at home in a high school classroom. Second season, not a chance. It's like she turned 27 and a switch flipped.)
brightknightie
May. 30th, 2011 10:09 pm (UTC)
Re: UK BH S3 E4 -- Mostly Annie/Mitchell
Thank you for the wonderful costuming analysis! And the confirmation of what I thought I was seeing.

I like the idea of "conservation of sweater." We have every reason to believe that (a) ghosts are in some way limited to their apparel at death, yet (b) ghosts can move themselves, whether they are matter or not, through space, which perhaps means they can manipulate the whatever of which they're made, including their clothes, and (c) Annie does ghost-power things unconsciously and instinctively before she learns to harness them. Perhaps she doesn't even know that she's subtly changing her clothes to suit her moods? The boys might never even notice to comment on it as a new skill when it emerged.

I had not noticed a change in Mr. Turner's appearance. Perhaps because they didn't change up his costuming as much (they just have him in jackets more, is that right?), or perhaps because I'm so irritated with Mitchell's behavior that I have no attention to spare for his looks. Or perhaps because I'm just not all that visually observant! I don't know. :-)
wiliqueen
May. 31st, 2011 11:55 am (UTC)
Re: UK BH S3 E4 -- Mostly Annie/Mitchell
Perhaps she doesn't even know that she's subtly changing her clothes to suit her moods?

That's always been my theory. I keep thinking she must be at least somewhat aware of it now, since the changes are so obvious. But then I don't know if she looks at herself much, or to what extent she actually feels it against her ethereal skin. One of those things generally best left implicit (and therefore ambiguous) in a visual medium, until there's a plot-driven reason to define it :-)

perhaps because I'm so irritated with Mitchell's behavior that I have no attention to spare for his looks.

I rather like this explanation. :-) It's mostly across his shoulders, which is a focal point in how I notice what's happening with anyone's movement and posture, and it's particularly where Mitchell carries tension. (I made a crack that my shoulders ached in sympathy with Aidan after the opening scene with the estate agent. Then the rest of the season happened!) And of course there's the inevitable instances when they take away the jackets and occasionally shirts.

On that subject, Russell Tovey, who is of course most often deprived of clothing, hasn't changed nearly as noticeably over the course of the show. Maybe because he already passed that phase (he was 26 in the pilot) and was even more baby-faced before, or maybe it's still coming or won't be as abrupt as for some. Sinead Keenan was already 30 in S1, and from photos I've seen of her earlier projects, she'd already passed that point too. So the characters who do age look less noticeably different than at the outset! :-D
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