abby was like 'do i really need to translate it this obviously'

sleepy hollow 3x11

I like how in the shot of Abbie at the beginning of the episode we see that she’s already tracing out that symbol unconsciously. Crane being so excited and cheerful about turning their house into a desert landscape is beyond adorable. They’re a succulent family now! Eeeee! And then he put a bandaid on her finger and you could just stick a fork in me, because I was done.

So there was dialogue that happened on-screen, but my brain automatically translated all the content for me to the following:

Crane: I’m asking you about your sleep, but what I really want to do is lie beside you and hold you in my arms until you feel safe again.
Abbie: I’m going to brush this off like it’s nothing, but the truth is that when I saved Jenny I was prepared to die. Now I’m wondering if dying would have been easier.
Crane: I want to know what it was like for you. My heart breaks everytime you smile and it doesn’t reach your eyes.
Abbie: How can I talk about what it was like to feel like that place was relentlessly chipping away at who I was, destroying me piece by piece? How can I talk about the fact that as much as you were my anchor, as much as I needed that, it was also killing me to be able to feel my bond with you and not be able to reach you?
Crane: I spent every waking hour endeavoring to bring you home. This isn’t home without you.
Abbie: I’ve gotta laugh this off because it’s getting way, way too real for me.
Crane: What if we go out later, get some things for our house, eat lunch somewhere I’m hoping will make you laugh? I promise I’ll play along when you pretend to believe in the historical accuracy of the obviously preposterous theater of that restaurant.
Abbie: Every part of me needs to run right now.
Crane: I love you.
Abbie: Don’t worry, Crane. I’ll come back.

The Art of War

The show is heading in the right direction. This episode was even better than last week’s, which I thought was the season’s best. It had a lot of the old feel to it – the focus on interpersonal relationships (Abbie/Crane, Crane/Joe, Joe/Jenny, Abbie/Jenny), the wacky solution to the monsters. It also steered clear of some of the too-broad slapstick that the show has leaned on this season.

If the show can keep moving in this direction, maybe it can come back. This was actually fun to watch. There were scenes I rewatched. It was nice to want to do that again.

Let’s go to the bullets:

  • The title of the ep totally gave me flashbacks to last season.
  • Watching the previouslies, it struck me that the show to this point largely proceduralized it’s A-plot but serialized its B-plot. To follow the A-plot each week, all you really needed to know was that there was some chick named Pandora sending monsters for reasons of mystery. But to follow the B-plot you needed to remember who August Corbin was, remember the role he’d played in Jenny’s life, track Sophie and Nevins, and on and on and on. This week when the two smashed together the distinction was erased, but it’s an interesting tactic if the network dictum was to make the show more standalone. They didn’t – they just hid the serialized bits.
  • Oh. We’re back to fakeout cold opens. Guys, I said you could use them sometimes and here you’ve used them in back-to-back eps. I’m taking away your fakeout privileges again until you’ve shown you can use them responsibly.
  • Why on earth is Crane surprised that Abbie has read Sun Tzu. It is possible Crane could have been familiar with “The Art of War” before the dirt nap, as it was translated to French, which he almost certainly speaks, in 1772, but … c’mon. It makes no sense for him to be like, “oh, yeah, of course I know all this stuff about Eastern cultures even though large swaths of the East were closed to outsiders/untranslated/I didn’t care about because we thought they were savages.” Stop.
  • Please note that when Crane is listing his problems, he mentions Pandora third, after immigration and the destruction of the archives. THIS IS WHY PEOPLE DIE AROUND YOU CRANE.
  • The Crane-Danny interaction is weird. A lot of the Crane stuff this episode is weird. Is it sad that I found him OOC because I liked him for the first time in a long while? When Danny calls out his easy mistake, normally Crane would puff up his chest, pee all over Abbie, and tell Danny to go suck it (but using bigger words). But here he’s positively submissive. Is he trying to help Abbie find a relationship as (sigh) he has? But those cuts back to him in the kitchen, watching … if that’s not longing, I don’t know what is. They keep telling us ship-sinking things extra-canonically then showing us things onscreen that I think even non-shipper types would interpret as romantic onscreen. And there’s even more later on! This show’s a mess.
  • Very subtle with the “hell to pay” and “I’ll be damned.” Exactly as subtle as a hammer to the kneecap.
  • Further proof the effects budget got cut waaay back: I’ve seen better makeups on Face Off.
  • Current sexuality: Jenny and Joe. Sweaty. In tank tops. Beating the tar out of each other. Bless.
  • In all seriousness though, this fight scene was both excellently choreographed and well-fought. More of this.
  • Do we really have Jenny with white eyes again? They couldn’t find some other way to signify that something was different? Or is this supposed to be a direct parallel to her earlier possession? Do they remember Season 1?
  • When Crane interrupts Abbie yelling at Jenny and Abbie just goes “HMMM!” in that “I’m biting my tongue so I don’t rip your head off” way, it’s so tough. Because there are absolutely two things that you do NOT MESS WITH when it comes to Abbie Mills: (1.) Her job, and (2.) her sister. And yet here she has one situation that manages to jeopardize both of the things she holds most dear. Excellent job as always, Ms. Beharie.

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