but i wanted to give it its own because it was my favourite scene of the whole season

hypnictwitch  asked:

What was your vampire diaries otp?

*16-year-old me comes bursting into the clearing*



These fuckers!

Oh, I was happy and dandy, completely fine watching The Vampire Diaries as a sort of guilty pleasure. It wasn’t the best show around, I didn’t really follow the storylines, found Stefan a bit boring, Elena dull, Damon your average ‘vampire bad boy’, but I really stayed watching it for the minor characters, like Bonnie, Jeremy, Matt, Tyler and Caroline because I felt like they were really kind of the flesh of the show. Their dynamics were the meat of it, and that’s what kept me tuning in.

Then Caroline Forbes got turned into a vampire. This bright, peppy character suddenly had a power she never expected to have. A strength I never expected the stereotypical cheerleader in this sort of show to have. It changed everything.

The Vampire Diaries basically became the Caroline Forbes Show, for me. I wanted more of this sunshine with this unlimited life and power.

And then Klaus Mikaelson rolled up. Your standard vampire villain, with a tragic backstory of shitty dad being shitty, and a bloodthirsty need to take over the world via the conversion of numerous mortals into vampire/werewolf hybrids.

So, those are the two pieces on the chessboard. The white queen, Caroline Forbes, socialite vampire grappling with the organisation of prom and her own immortality. The black king, Klaus Mikaelson, British-accented vampire villain with a penchant for witty one-liners and slowly making his way up the list of favourite characters. Destined, pretty much, never to meet until the end of the game.

Then the show kicked things up a notch, some hybrid stuff happened in badly lit scenes, and Caroline ended up, on her birthday, slowly dying in her bed from a bite given to her by her boyfriend. Klaus shows up. Laying out the red carpet of faux concern: “oh my gosh Caroline got bit by Tyler, a hybrid??? Sired to me??? What an amazing coincidence!!! Now invite me in, there’s a good girl, toodle pip”. Obviously part of some bigger plan that’ll come into play. Sherriff lets him in.

So here’s the black king standing in the doorway of the white queen’s bedroom. There lies the white queen pale and sickly, dying, with ironic ‘Happy Birthday!’ cards arranged artfully on a bedside table. The king is in a position of power; this is acknowledged as soon as he walks in the door, as it always tends to be when Klaus Mikaelson walks into a room but hey, let’s focus here. 

Some standard 'you’re the Big Bad, I’m the friend of the Holy Good why the fuck are you here’ dialogue is exchanged. Klaus Mikaelson, the sage old king, mentions that he likes birthdays; that Caroline, the newly appointed queen, as a vampire, is duty-bound to celebrate the now non-existent commitment she has to human conventions.

“You’re free,” the old king breathes.

“No…” replies the new queen. She flicks her eyes up and meets the old king with a stare as deep as his. “I’m dying.”

A-ha! The playing field is equal. The moves have shrunk. They shrink further still as the king admits he still holds the ace – her life. He could indeed, let her die. At this moment, I expected some corny claptrap about how her death wouldn’t affect the grand scheme of things, how she was never to be a part of his plan—

“I thought about it myself.” Hello? What’s going on here? “Once or twice.”

The old king leans closer to the new queen, young and green in her reign, and tells her that there is a whole world out there, and suddenly, immortality pales in comparison to the promises of music, and art, “genuine beauty”. Immortality ain’t beautiful. The world is.

She can have it all, “a thousand more birthdays”. If the new queen just asks. She can reign everywhere, anywhere she wishes for as long as she wants. Human conventions be damned.

Textually, it’s obviously a power play. Klaus is gaining an alliance from Sherriff Forbes, and a debt from Caroline Forbes, which he will no doubt call on. Caroline surrenders, admits that she doesn’t want to die after all.

But what’s she saying yes to? She’s saying yes to all those birthdays, the art, the music, the promise of genuine beauty.

So drink up, whispers the king. The queen drinks, she sleeps, and she wakes to find a bracelet of astonishing, genuine, beauty contained in a black velvet box with a neat white bow and a scrawled note. “From Klaus”.

Then, nine episodes later, at a 1920s themed dance, the old king makes his intentions very clear to the new queen. It’s clear she knows the debt that hangs over her head, the connection that haunts Tyler, so she acquiesces to his request for one dance. “I don’t bite,” he says silkily. There’s the old 'Big Bad/loyal to Holy Good friend’ dialogue exchange, as before. Then, a reiteration of his promise of the whole world, worded differently, but still there. The old king speaks of waiting for 100 years for her to accept his offer, his promises, as if to do so is easier than breathing. Oh, the new queen side-eyes him, but the pieces shift, the game changes and she’s looking at him in a whole new way. He looks at her with a depth not found in the eyes of a small town boy. She breaks it with a scoff, and there’s your standard 'Big Bad is pissed off’ dialogue from Klaus before he storms off. And, quite crucially, she looks back.

Anyone who has watched any period drama ever knows the importance of looking back.

And just one single episode later, Caroline Forbes is running down a corridor, your standard horror film shot. She is alone, scared, frightened. She is caught by Klaus Mikaelson, her saviour not ten episodes ago, who has twice offered her the world and all its beauty. Not its glories, not its triumphs. Its beauty. 

He promises to save her friend and brushes his fingers over her hair as if it’s already second nature to him to treat her this kindly, this intimately. (Do not get me started on how he cradles her when she drinks his blood, do not.) He tells her, fiercely, to get home and stay safe.

“Do you understand me?” barks he.

“Thank you,” she says. She looks at him like she still cannot work him out, and is afraid because of it. But the thanks is as easy as breathing.

For reasons that are known as ‘I cannot put up with this shit writing for a moment longer’, I give up on the show come season 3 finale. I watch clips of their scenes on YouTube, scrabble for any desperate hope that the potential I saw and shipped and loved is still there. It falls down, down the drain and I personally like to pretend anything past season 3 doesn’t exist.

So now, here I am. 22 years old with 16 years old me screeching the dying screech of a frustrated fangirl whenever she sees a gifset of Klaus Mikaelson and Caroline Forbes together on her Tumblr dashboard because you had a queen with power yet to be unlocked and a king willing to give her that power in exchange for being allowed to worship her as he always wanted to, and because of some shit to do with hybrids, it all went tits up.

But those fuckers called Klaus Mikaelson and Caroline Forbes? They have a portion of my heart (the right ventricle, to be specific) that continues to beat for the queen and king that almost ruled together. #foreverbitter

Sterek: An angsty, pining love story

There a trope I particularly enjoy in romances when I’m in the right mood. I call it the angsty pining love story, in which at least one, and often both, of the protagonists silently pine for the other.

I bring this up because with only a minimal application of slash goggles Derek and Stiles can be interpreted as fulfilling this trope in Teen Wolf canon, and I don’t understand why there are not a hundred post-3B stories exploring this possibility.

Behind the cut is an image heavy post, with slash goggles firmly on, in which I explain the angsty pining glory of Sterek in canon.

Keep reading

I think I’ve been a little bit frustrated with the reaction to Root’s death and I’ve been struggling to articulate why because it just kept sounding like I was forcing my opinion on others which I don’t really want to do. I don’t really want to tell people they’re wrong  for feeling betrayed or hurt or angry because who am I to do that? But I think I’ve had a breakthrough so here’s some thoughts on her death and the reaction it has received.

1. People who started watching the show just for Root and Shaw will never know what it felt like for Root and Shaw to be a surprise. To watch it evolve organically (like all the Swan Queens and Rizzles), to see the seasons go by and the relationship develop, but then hot damn it’s canon. Not just cop out canon (Korrasami, never really truly confirmed on screen), but a hugely relevant relationship for the show from that point on. It’s just so rare for that to happen - and I really want to say for anyone here, because of course there’s issues with representation and so few queer characters on TV but I can’t think of any straight couples I’ve shipped that this has happened for either. (What is it with show runners not recognising chemistry?)

So for those of us who have been watching all along (or at least early enough to be watching the show and not the Shoot Show), it can be forgiven for killing off characters three episodes from the end because it gave us that relationship in the first place. For those that got into the show because of the fucking badass representations of gender, race, sexuality and artificial super intelligence (or possibly just for Amy Acker’s heart eyes at Sarah Shahi), it’s understandable that they would be angry because 5x10 diminished that.

That was more than I meant to say on that part.

2. People are having a hard time distinguishing between ‘I do not like this’ and ‘this is bad’. It’s okay, lots of people have this problem. I like to credit my adoration of some truly dire movies for my own ability to see the difference quite well. In this particular instance it is awkward because both are actually true it’s just people are saying one when they mean the other (one of the things that’s been frustrating me, I think, because I can be pedantic like that).

Here’s a thing: tropes are not bad. Not even the ones we don’t like.

It is okay for gay characters in TV shows to die. We may not like it, but that doesn’t make it bad writing. Anyone who was in the fandom when If-Then-Else happened will remember a hugely different reaction to Shaw’s ‘death’ than the one Root is having, and at the time there was really very little hope that she’d be back (Sarah Shahi’s interview said something about taking two years off to have the twins). So what’s different this time?

Well we can’t ignore the visibility that the Bury Your Gays trope has had these past few months. There’s always backlash when any character dies but the sheer quantity of queer (and specifically lesbian/wlw) that have been killed off recently would look like a conspiracy if 2016 wasn’t also doing it to so many awesome real people. But it is that quantity that is causing problems. You finally get given representation; it gets taken away. You are promised an epic romance; it ends in tragedy. You find a new safe place; only for it to be ruined. Any one of these things hurts but the sum total of all of them, of it being repeated over and over can be soul destroying. But:

3. We can’t really blame one show for any of the others. It’s like the Bechdel test. Taken alone as it’s own separate instance the Bechdel test is worthless. The Bechdel test does not show that an individual piece of media is good or bad, or even that it is sexist. The only thing the Bechdel test does is highlight tendencies in Hollywood as a whole. You cannot rage at one movie for failing the test.

And so (I feel) you cannot use the frequency of the Bury Your Gays trope to rage at one show for killing off a queer character. It sucks and its awful that these characters are dying but a show is only responsible for itself. By all means praise the shows that don’t do it; by all means compile data on just how god damn many shows do; by all means campaign to put an end to it, at least for a while; but try to view each shows story as its own thing, and judge the reasons for the death (internal and external) on their own merit. And that brings us to:

4. Root’s death just wasn’t that great. Dying from a random gunshot wound that we can’t really see feels weird because she’s survived loads of those before, but they don’t really do anything to show that this one is worse than any of the others. So that’s odd. Briefly let’s look at Shaw’s sacrifice. Shaw gets the Big Damn Hero arrival, flirts over a shoot out, kisses the girl then pushes her away to save her and all their friends, goes down fighting, stares her death straight in the face. As she’s my favourite character, I didn’t want Shaw to go at all but at the time I was happy that it was such an awesome…departure. Moving on.

A much better comparison for Root’s death is Carter’s. Both (as far as we know) actually died. Both were main, badass female characters integral to the series. Both threw themselves in front of bullets to save their buddy. I’m going to skip over the arc that Carter had because the show was able to focus on her for that given it wasn’t the final season and they didn’t need to tie up everything else as well.

Both at least have agency in their deaths (poor Lexa). They both choose to take the hits. They both die as a result. It is totally in character for them both to do this. Carter dies in John’s arms, and Root dies…in the car? On the way to the hospital? In the hospital?

Root dies off screen, and that is the problem. I’ve seen the producers say that they wanted to maintain the tension so that you don’t know what’s happened, but as soon as Root was taken away I was convinced she’d survived because, well, because there’s only two reasons to kill a character off screen. The first is because you can’t get the actor in to do the death scene. And the second…the second is when you don’t actually kill them.

So the whole thing just plays kind of weird, and it has the overall effect of the show not caring to give her a proper death scene, which is just odd when they went all out for Carter and Shaw, so you know it’s not a gender thing or a sexuality thing and it’s probably just a no-one-gets-it-right-all-the-time thing.

They didn’t need to kill her off in Shaw’s arms, they didn’t need to have her sacrifice be for the machine instead of Harold, they didn’t need to change much of anything at all but they needed to actually show it.

I’ve just now realised how long I’ve been going on for and if I knew how to put it behind a cut I would but alas my tumblr fu is weak. Sorry!


Wheyy another review…
Now I know that this final season has been reviewed and re-reviewed over and over and that, but what the fuck, here I go anyway.
Okay. Having a mental illness is something that has, until only very recently and perhaps even now, not been taken with the seriousness and attention that it deserves. The absence of an immediate physical symptom in an illness such as depression or anxiety has led to the widespread opinion that it is of somewhat less importance than purely physical illnesses.
I first heard of mmfd through my best friend, whose mum was one of the producers on the show (Roanna Benn). I was a bit hesitant at first, wary as a result of past experiences with TV and its depictions of mental health. I thought it would prove, at best, naff and predictable, and, at worst, insensitive and maybe even insulting. I was wrong, so, so, wrong.
Having a character like Rae, with all of her good and not so good qualities, her achievements and her fuckups, her good moments and her bad days, in short, seeing an on-screen teenage girl reflecting all the highs and lows of a real adolescent, someone who could be me or you, or a classmate or family, is rare and unusual, and comforting for those of us who can’t identify ourselves completely in depictions of teenage life in the media today. What’s more, to find a program that does so in a painfully accurate, unashamedly honest and, at times, even funny way means more than I can begin to describe.
Season 1, Rae’s gradual reintroduction into the world, her struggle to come to terms with her illness, her search, not only for acceptance from her family and peers, but from herself, it was so well written and acted and filmed that I wanted to cry, not just because of the heart wrenching story line but also out of appreciation of having that much attention and care put into telling Rae’s story, into making this a show worth seeing.
Season 2 (my favourite season) did this (if possible) to an even greater extent, handling taboo subjects carefully with no hint of cliché or sarcasm. More importantly, however, neither of the two seasons in any way encouraged or glamourised mental health disorders in the way that TV shows such as say, Skins, have done in the past, nor did they portray them in a way that might make viewers identifying and suffering from such disorders feel like total shit.
Season 3 had absolutely none of this care and attention poured into it. Let’s start with Finn and Rae’s relationship. At the end of the first series Kester tells Rae that she has to stop rejecting herself in order to stop being afraid of rejection by others. One of the biggest worries that I, at least, had when I was first clinically diagnosed with depression was what the fuck was everyone going to think? I was anxious, I beat myself up over it, it took over my reactions to events around me, like something dirty and shameful, and, as a result, I handled it really badly. The worry of being accepted, of being loved despite everything, of being understood. And that’s what I loved about the character of Finn and his honestly incredible portrayal by Nico Mirallegro: his unconditional love for Rae, no matter her size or her mental state. I loved how he was set up to be this gorgeous, gorgeous guy, sporty, popular, musical, whatever, essentially the perfect boy and was instead, through equally incredible character development on Tom Bidwell’s part, portrayed as normal, with faults and his own insecurities, and a very human struggle in relating his feelings and thoughts to those around him. I loved how he was never purely Rae’s love interest, no, he was first and foremost her friend, somebody who had even misjudged her at first, disliked her, and had taken the time to get to know her, admitting his mistake and eventually fallen in love with her. That bit where he tells her he likes her because she’s strong and she just hasn’t realised it yet. What a scene, seriously. Mental illness leaves you feeling weak, vulnerable, unable to properly see yourself. To be told that you’re strong is literally all I and I’m sure many others in similar positions to me have wanted and still want to hear and have the people surrounding us see. Which is why I hated season 3. That bit where he tells her she’s mental? It’s not so much what he said, rather that he said it at all. It’s a character inconsistency, one of the many actually. He would never. Not the Finn from the first two seasons. He had too much respect and understanding for what Rae’s illness meant to her, how it was affecting her. He was always wary and careful when they talked about how she was doing, quick to reassure her and never, ever insensitive. Then there’s the matter of him cheating on her with that Katie girl. I was completely in denial for the entirety of the scene; I wondered a few times if George Kay had even bothered to look over the previous seasons at all, such was the difference in characterisation. There have been several instances in both season 1 and 2 in which we see Finn express his opinions on the way that romantic relationships, shall we say, should be handled. An example would be in the second episode of the first season, in which he, despite his apparent dislike of Rae at the time, takes the time to apologise to her on Archie’s behalf as well as for his own actions because he believed it wasn’t right to lie and let somebody down the way that Rae had been. Again, in that scene with Chloe in season 2, he tells her he thinks that one should only really kiss somebody if one means it. At the beginning of the second season, when he kisses Rae and explicitly tells her he’s kissing her because he wants to, with no ulterior motives. He’s consistent. He’s not a character which has, in any way, given viewers reason to expect him to cheat. It’s just not something he would do. I understand that the new writers, producers etcetera wanted to deconstruct the ‘perfect’ image Finn’s character seems to give off but, as described above, I believe that was completely unnecessary. We already knew he had faults, he started off as a prick, didn’t he?Moody and miserable and sarcastic and rude, however good looking, it still took some time for viewers to warm to him. Essentially, they did deconstruct Finn’s character: they created a whole new persona many fans were hard pressed to reconcile with come the end of the show. Also, his hair. No.
On a related and unrelated matter, I’d also like to talk about Nico Mirallegro’s acting. He’s good looking and charming and all of that, of course he is, he was picked to play Finn, he had to be, but as an actor he is so much more than that. Small things, ticks and movements and facial expressions which render Finn a multi-dimensional and extremely believable 17 year old, he brought that character to life. It sort of pisses me off that, as fans, many of us seem to be unable to look past the undeniable fact that he is super cute and not be able to appreciate how much he has actually done for a character which would otherwise have been a little too obvious, black-and-white almost. Sure, I think that the way that Bidwell wrote Finn was brilliant but it was Mirallegro’s acting that made any of it convincing and utterly believable. On the one hand, Finn is the kind of guy we’d all like to meet someday, on the other, he’s kind of an asshole who struggles with his own emotions and how to get them across to the people around him. How many of those have we met? How many of those have we yet to meet?
Anyway. Moving onto Rae’s relationship with Kester. I think it’s Tumblr user darlingdiver who wrote a beautiful analysis of all of the ways in which Kester’s credibility as a trained professional and as a good therapist to Rae was diminished and cancelled out at various points throughout the final series. It is definitely worth reading and put into words my uncomfortableness with the absolutely huge plot holes surrounding Kester and Rae’s relationship. What’s even more heartbreaking is that that had previously been, for me anyway, one of the high points of the show as a whole. We see Rae’s relationships in four stages: her mum, her friends, her therapist and herself. Each of these were handled amazingly, believably and with clear contrasts between them. Her sessions with Kester were an opportunity for Rae and the viewer to group the episodes events together and make sense of the emotional impact they were having on Rae’s character and the storyline as a whole. To have Kester become another friend, an absent one at that, whose own weaknesses intervene and even damage Rae’s therapy, is such a let down, I was so incredibly angry by the end of it (that car park scene - what the hell?).
Finally, and then I really am finished, is Rae herself. As always, Sharon Rooney was stunning in every way and pretty much salvaged the show; however, once again, there were inconsistencies. Previous seasons have seen Rae struggle and eventually succeed in overcoming her inability to tell those around her the truth. Several times Rae is seen to hate the way her lies are spinning out of control and the season finale sees her finally able to put all of those insecurities behind her and trust her friends and family and general support network. So what is all that about her outright lies to Finn, to her family, to Chloe, to Kester? What? Season 2 finished with Rae finally letting Finn in, both emotionally and physically, so why would she hide such a massive change in her life and circumstances when, since even before they became a couple, she had always talked to him and confided in him? That episode in season 1 after the rave when she’s slowly scratching out her options of people to talk to, I’m pretty sure Finn is somewhere close to the top of that list alongside Chloe, who is, incidentally, yet another person she lied to. Her promise in season 2 to look after her sister and bond with her, we see absolutely no evidence of that happening, indeed, she doesn’t even seem upset about the idea of her baby sister and parents moving to Tunisia, another plot inconsistency which, in short, pissed me off. The whole thing felt lazily written and it is only thanks to the actors and they’re amazing loyalty to their characters that I and many others watched to the end. That and the misguided hope that it would somehow get better.
There are good points. Chop’s tattoo was so typical and endearing, Chloe was incredible throughout and the inclusion of Danny, although subtle to the point of almost invisible, were all small compensations for the rest of it.
For me the mmfd story ends with Season 2. The lack of closure is upsetting but at least I’ll get to keep the characters that I know and love.

The Empty Hearse – On Sherlock, John and The Lack of Character

Analyzing the reunion of John and Sherlock, their relationship, Sherlock’s characterization and the role of Mary in the episode.


It’s not Personal, just Business.


I have never agreed with the saying “if you have nothing nice to say, don’t say anything at all”. Being able to give and receive criticism objectively is an important skill to develop for people in all walks of life.  Unfortunately some readers have taken my criticisms of last night’s episode to be a personal attack on their favourite TV character. Last night’s episode had some serious flaws, and whilst it might have pandered perfectly to a certain crowd it does not mean it lived up to the standards we have been expecting and deserve. Sherlock started out, maintained and marketed itself as an intellectually challenging show. The plot twists were exquisite, the crime solving original and extraordinary. The Sherlock and John relationship was a wonderful complimentary angle but it was not the whole show.   Last night’s episode threw all of that in the bin and was instead assembled from a checklist of fan wishes, almost as if Gatiss has simply taken all his inspiration from his fan mail.

The show had positives but the negatives cannot just be ignored, particularly as they managed to derail the positives.

The Empty Hearse turned into The Empty Plot but far more than that it also turned the characters into something less than what they had been.

Keep reading

TWD Season 4 Bonus Material Through Sanja's Eyes

The long-awaited Walking Dead Season 4 DVD/Blu-Ray Sets have finally arrived and seeing how Carylers were granted a limited amount of “physically present” Carol and Daryl scenes, the anticipation for anything extra or even a little more insight in the characters story arcs, has been building up since the final episode and only made the hiatus more difficult.

Based on the previous season releases and the fact that all of them had deleted CARYL scenes included in the bonus material, my expectations while a little more cautious that before were definitively positive and on the hopeful end of things.
Since the end of Season 4 the CARYL spirit has been boosted and empowered from many different angles and Carylers have a lot of reasons to feel optimistic about Season 5 especially regarding the direction the Carol and Daryl connection seems to be heading.

The Bonus Material granted does not include a direct CARYL moment like in the past BUT there are several things in the commentary that certainly look and sound like they just might be favorable for our ship.
That being said I have to admit that the extraordinary praise donned on Melissa McBride herself is the star here but then again listening to anyone fan-girling or fan-boying over her brand of fabulousness never gets old with me!

Without Further Ado I Present To You the Highlights;

Episode 1 “30 Days Without an Accident”

*Greg Nicotero commented on the Carol and Daryl first scene - “Just remember I liked you first” and “You gotta learn to live with the love” - by saying;
“I love the chemistry between the two of them, they are great together..”

Now granted this isn’t exactly “new” news and a similar version of that sentiment has been uttered by a almost everyone BUT I still liked hearing Nicotero’s thoughtful take on the “thing” between Carol and Daryl because it highlighted his own emotional approach to creating and interpreting personal scenes between characters. The comment was said as an observational “fact” and not his personal opinion (like he did with his Alone “feeling”)

*This is the BIG ONE (I will revisit this in it’s own post) -

Scott Gimple said that he put a concentrated effort into making sure that the Carol and Daryl interactions in the premiere episode were highlighted and specifically meaningful because they were aware that they were going to be separated for much of the season.

The reason I consider this to be important is simply because it essentially confirms that the relationship Carol and Daryl have is not just different from the ones they have with the others BUT was significant enough to need a strong acknowledgment from the get go so the audience doesn’t completely dismiss it and forget it’s importance to both of them.

It also implies that CARYL will come into play in the future and those scenes were the groundwork for what it’s to come later on.

*The comment about Norman Reedus’s contribution to the whole “finger-licking” part made me smile because it reminded me of the Season 3 Premiere “Seed” and Daryl licking his fingers clean before giving Carol a shoulder massage during the whole “Screw Around” scene on the bus.

Episode 8 - “Too Far Gone”

Scene - “Daryl finds out Rick banished Carol - reaction”

Seth Hoffman (writer):

“Daryl comes in and gives this whole speech about why he knows Carol is going to be a survivor and Norman came up to me and said look I like this speech, at some point in the series I would love to give this speech but this is not where this character’s head is at this point. So we cut the speech and he was completely right and the scene works great as it is.”
“This was one of the scenes that the fans were looking forward to seeing. What was Daryl’s reaction going to be when Rick tells him he banished Carol.”

*Having seen the scene and read other Reedus statements the quote from the writer made actually makes sense - Daryl is a character that needs to process information which is why Norman wanted the scene open-ended. The conversation wasn’t finished and Daryl was too angry and taken aback to make any eloquent speeches - Carol was gone, Rick did it and Tyreese needed to be “handled”!
Had the governor not attacked just then the speech might have been heard later on - Daryl was angry and that part was very clear! (this too will be revisited)

*The anticipation and fan enthusiasm about getting to this scene was plainly and bluntly acknowledged in the commentary - What is Daryl going to do? was HUGE! (Nod to CARYL)

Episode 14 “The Grove” - Andrew Lincoln Version

First I am going to let the quotes speak for themselves;

*Andrew Lincoln - “Can I just say I know I’m supposed to talk smack about Melissa but she is the single greatest actor I have ever worked with. Am I allowed to swear? She’s a fucking alien. She’s so good. Seriously, remember the first time doing a scene in S1 at the camp. she says two things to me. It was so real, so disarming and brilliant, I said to Jon Bernthal who the fuck is that? I’m so thrilled you’ve written this incredible journey for her. I think she’s one of the strongest. She’s one of our secret weapons on the show.”

Scott Gimple - “Not a secret anymore. I watched S1 from home and it was the same reaction. Who was that? From a character standpoint, the thing that is most exciting about her character is seeing characters change and for her to be here from where she started, it was a remarkable thing. “

*Scene - “Lizzie kills Mika and Carol talks her down into giving her the gun and going in the house with Tyreese. Once out of sight Carol breaks down to tears”

Scott Gimple: “The performance Melissa gives here is astounding.”
Denise Hutg: “She’s Amazing!”
Scott Gimple: “It’s one of the most remarkable things I’ve ever seen!”
Andrew Lincoln: “She’s so amazing, man. So amazing.”
(muffled - almost sounds like he’s holding back tears)

*About working with and writing for Melissa McBride;

Scott Gimple: “When you’re writing something for people. And you know they have super powers, it give you super powers to deliver them material that you know they can do. There’s a weird relationship to fanfiction. Fanfiction on the internet is always based on passion. It’s the same here, just a lot more expensive. Oh man, if I had a dream where I can write for Melissa Mcbride.”

***Now I can’t speak for him but personally I can’t see a guy whose dream is to write material for Melissa McBride killing that DREAM just to further something as unoriginal as man-pain or solve something as tacky as an offensive love triangle!

*About The Grove Episode (in summary)

Denise Huth: “It’s the whole story, the tragedy, the zombies and all of that. The ugliness of what you have to do then you have this scene of just utter grace and forgiveness between two human beings who only have each other left.”

Episode 14 “The Grove” - Melissa McBride and Chad Coleman Version

My favourite quote;

“I think you’re an acting teacher in disguise… You’re so incredibly intuitive and always passionate and always driven to go further. I never had to worry. All I had to do was look at you, babe.”

Chad Coleman speaking to Melissa McBride

*I think the undertone of that statement works for both Tyreese to Carol and Chad to Melissa

“When was the last time Carol had a hug?”

Melissa McBride on Tyreese hugging Carol

***The commentary itself was beautiful and surprisingly light-hearted and worth the listen for Melissa’s voice alone!
****This masterpiece will get its own post!

Episode 12 Still

***I will be including some material from “Still” because there are those out there who use that particular episode to undermine the relationship between Carol and Daryl.
I feel that there are a few things in the commentary that reinforce the platonic/familial bond between Daryl and Beth and confirm claims a lot of Carylers predicted and concluded prior to this release.

*Scene - “Drinking game and the confrontation-breakdown that follows”

Emily Kinney: “Beth hasn’t gotten to be much of a teenager since everything happened…lets do something kind of fun like play one of these games that I remember.”

Julius Ramsay (director) “She thinks she’s coaxing him into having fun but what she’s really doing is antagonizing him…” 

“…she doesn’t know that she shouldn’t confront him about something which is part of the reason I think she does it…”

Many analysis posts have been done on this scene (mine is here)
and the director basically confirms what almost every Caryler suspected in the first place - Beth has no clue who Daryl is, how to approach him or how to talk to him AND ultimately she is still very YOUNG in her ways and her attitude.

The writers went out of their way to portray Beth as a sheltered, vulnerable “teenager” which is confirmed by Emily Kinney herself and the director says outright with no ambiguity that Beth was antagonizing him, pushing his buttons and initiating games for FUN without even an inkling of understanding of what kind of PAIN is brewing inside Daryl.
The commentary indicates that this wasn’t some BIG masterful plan by Beth to heal Daryl’s emotional wounds and help him - she was trying to distract both of them from reality by coaxing some fun and because she doesn’t know Daryl, they have no history together, she doesn’t know that this is exactly what she shouldn’t be doing.

*On a side note - the mere fact that Emily Kinney refereed to Beth AGAIN as a TEENAGER makes this whole shipping contemplation with Daryl just…err…uncomfortable!


I will be honest - a CARYL deleted scene would have been amazing BUT Carylers were given some extra hopeful reassurance about Season 5, Melissa and Carol were clearly celebrated and some of our suspicions and gripes were vindicated!

*My favorite part was Scott Gimple giving Carol and Daryl extra time in Episode 1 because he knew they wouldn’t get it later on - that to me speaks volumes about what this show-runner deems to be important!

CARYL On My Lovelies - There is Hope…so much HOPE!



City of Heroes 2 -- A Recap

COH2 was always going to be a wonderful experience for me partly because I’d had so much fun last year, and mostly (I admit) because this time around, we were going to get to see Emily Bett, who is very selective with the conventions she attends. It was a privilege and an absolute pleasure for me and my friends – and pretty much all of us who attended the con – to be able to see her and the other guests who gave up their weekends for us.

I’ll try to recap everything that I can remember about the weekend but I will admit that a lot of it is hazy – there was SO MUCH going on that we were in a constant state of buzz, and even now I’m remembering little bits and pieces of information that I’d forgotten had happened until now. I will say that this recap will be about my personal experience and the many, many opportunities I was given to interact with the actors I love, and won’t really focus at all on the logistical aspects of the convention. There were issues, yes, some of them unavoidable; but to be perfectly honest, the sheer number of amazing things that I got to witness this weekend far outweigh any logistical issues, and for me, nothing could burst that bubble.

I will also add that since there were two Halls (and therefore two sets of panels happening at the same time), I will be recapping my own experience, which may be different from that of someone who was in a different Hall to me. My purpose for attending this con was, in large part, OTA, and so this recap will focus as much as possible on them. I will talk about some of the other guests I was able to see/interact with, but I wasn’t able to attend every session and I prioritised those sessions that had Stephen, Emily and David, so I will focus on them. 

This is super duper long, so I’ll put it behind a cut. 

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Haylijah Appreciation Week

Day Three: Favourite kiss.

Oh, this scene! This scene was so amazing, so well-done. Here we have two people who have weathered the storms of their lives with amazing strength, who want nothing more than a home and a family, and who feel that they’ve found it in each other.
Their relationship, at this point, had already taken quite a beating. First Hayley found everything she ever wanted, only to lose it in the blink of an eye and become the one thing she wanted to never be. Her entire world was turned upside down, and her entire sense of self, her basic identity, was shaken to its core. But she was rebuilding herself, slowly, and beginning to regain her footing, to regain the acceptance she’d so quickly found and then lost. So, of course, Elijah’s own identity is given a beating, because these two can never be in quite the same state at quite the same time.
And that’s where we are in this scene - Hayley has healed fairly well, but Elijah? Elijah is where Hayley was at the beginning of the season. He’s lost the one thing he thought he could always count on: himself. Look at his face, not even just in this scene, but in the whole first part of this episode. He’s completely open. He’s feeling everything, his entire being is like a sensitive open wound. There are no masks, only reactions, because he doesn’t know who he is anymore, so how does he know what to hide? Watch him while Hayley gives her speech. He wears a different expression for literally every line she says - happiness that she’s found a solution to the wolf problem, concern about the catch, maybe a little sense of doom.
His face when she tells him that she’ll be marrying Jackson literally looks like he’s been punched in the gut. All the breath has gone out of him because he’s realising, in one quick, horrible instant (because Elijah’s a strategist and he can see these things oh so clearly), that he’s lost Hayley. There is no choice for her to make, because there is only one choice she can make.
And, oh my gosh, he turns away. The first thing he does is move away from her, hide in the shadows, because he’s in pain and he knows that there’s no way he’ll be able to hide that from her if she sees him now. He’s too raw, too open, and in that moment, all he wants is to close back up again.
And Hayley during her speech - she’s nervous, and in turmoil. She knows that Elijah is vulnerable, that this is the worst possible time to be telling him something like this. She knows that it will crush his heart as much as it’s crushing hers (because Hayley actually has quite a bit of emotional intelligence), and the idea of hurting someone she cares about practically rips her heart in two, but she also knows that the right thing to do is to let him know right away, to be completely honest, to not lead him on. Honesty is important to Hayley. We’ve seen this in other episodes, like when she told Jackson that she’d been with Elijah, or when she told Klaus the truth despite the fact he could so easily kill her. Facades are not Hayley’s first choice. Her being unshakably, unfailing honest with someone is the highest honour she can bestow, and that’s what she gives to Elijah now, because to her, the truth, no matter how horrible, is the ultimate kindness.
“I couldn’t marry him, and still be involved with you.” Throughout this bit of her speech, Elijah is stiff, and nodding, agreeing with her but trying to get control of himself, and then Hayley says this, and he stills. Because what Hayley is saying isn’t that she won’t be able to get involved with him, but that she’ll have to stop being involved with him. She’s saying that she and Elijah are, at least in some way, together. Right now, they’re together. When he handed Hope to her earlier that episode, they were together. Every time she yelled at him for not caring about her, they were together. When she broke down and told him that she was a monster, they were together. This is huge, this is monumental, because they’ve never had a discussion about their relationship, never once tried to define what they were to each other, and after Hope left, neither had any idea where they stood with the other. Even so, Hayley always felt that she and Elijah were involved. But Elijah didn’t. All he saw was her in pain and him unable to help her, her pulling away from him, an ever-increasing distance between him and her. He didn’t know that they were involved and to hear that, now, this affirmation that she does still care, she does still want to be with him, there is still hope for them, to hear that on the heels of her engagement to another man - it’s effectively telling him that he has her, only to immediately take her away again. For one fraction of a second, in his mind, he and she are together, involved, and then before he can appreciate it, before he even knows it, it’s gone and he’s lost her again. He always seems to be losing her in one way or another.
Keep in mind that way back in the very beginning of their relationship, Hayley was always the one pushing for more. She may be insecure and broken, but (as I said before) she has emotional intelligence, and she can read people, and she could tell that her feelings for Elijah were returned. And Hayley is impulsive, a doer, not a thinker. If she wants something, she takes it. So she pushed Elijah, and he set up boundaries, and after that, all we saw was her respecting his wishes. She never violated those boundaries because she respected his decision. It was only when he opened up to her about his feelings for her that she began to push him again. And that’s why, now, she decides to leave, to let him process. Because even though Hayley is a doer, she knows that Elijah is a thinker, and she respects his need to bottle up his feelings, to be ever in control, to have his boundaries.
But this isn’t Elijah, this is Elijah 2.0, this is Elijah feeling more than he’s allowed himself to feel for a long time. So he doesn’t let her leave, he brings her back, for once, he takes what he wants and kisses her. He knows that it won’t last, because he’s already realised that the marriage needs to happen, but she isn’t married yet. As long as she is in this room, with him, they’re still involved. It’s when she leaves that they’re over.
And again, their interactions here follow the same pattern. Hayley gave Elijah a tentative push, a nudge really, letting him know that she still cared - and she thought that he wasn’t responding, was setting up those boundaries again, so she pulled back, prepared to leave, and then Elijah kissed her and showed her his feelings. It was a goodbye kiss. It was meant to be their last kiss. It was full of longing and love and tinged with anger and regret and desperation, and it told Hayley everything she needed to know. The kiss ended, and Elijah essentially told her goodbye - not a ‘we’ll never see each other again’ goodbye, but a 'we’ll never be the same two people we are in this room right now again - we’ll never be as free as we are now, free to do what we want - we’ll never have the freedom to stand in front of each other and say what we really want to say’ goodbye. The kiss ended, and Elijah told her goodbye, and Hayley realised that this moment was coming to an end far too quickly, and there would never be another one, so they decided to make it count. They spent the night (or three, who knows what’s going on with the timeline in this show anyway) telling each other goodbye in the most bittersweet and yet intense way possible, because they both knew that every moment they spent together in that way would be their last.
This is their relationship. They become friends, and Elijah gets daggered. They admit to romantic feelings for each other, and Elijah pulls away because of fear. They kiss for the first time, and Hayley dies. They sleep together, and Hayley marries Jackson. Their relationship is a long string of beginnings and endings. They are always ending even though they had only just begun.

Rainbow’s Facebook Q&A

Question: I always loved how characters in Madeleine L'Engle’s worlds crossed over in space and time to interact, and you’ve done than on a few occasions. Do all your characters inhabit one giant Rainbow-verse, or are there any who are forever sealed in their own era and place?
Rainbow: In my mind, it’s all one world! I have an idea for a book where all my main characters are secondary characters. Where they all live in Omaha and cross paths. The outliers are Simon and Baz. This is the first time I’ve thought about them being on the same plane as my other characters, and it’s kind of exciting!

Question: I love how you write about characters who’ve had similar careers to you (advertising, newspaper, writing etc) - do you think you’ll ever write about a character who works in for Toys ‘r’ Us/a toy shop?

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