UF!Papyrus sucks putting names, give him some help man…
First part of a little serie I’ve planned about UF!Papyrus and the “it’s a cat thing” book. It’s about cats facts indeed! but not just the normal one, it will include some funny facts as well and if you want to send me yours ideas, go ahead! Let’s see what you have in mind and if it’s fit this kitty
‘cause he is not a typical cat, it’s a sansational one (?)
Kitty’s Storyline in Elementary as of S03E06 (tw: rape) (spoilers)
[image of a white woman, long brown hair, the character Kitty Winter from Elementary, leaning against a doorway with arms crossed. Dark gray unzipped hoodie, light gray shirt, black pants]
Ok, I have to admit - as previously mentioned, when I first met Kitty, I was dreading this “girl-on-girl” jealous rivalry between her and Joan for Sherlock’s attention. I was like ugh really writers? ugh am I going to watch this? I’ll give it a few eps
And it was definitely worth those eps. Kitty has probably one of the best written storylines about rape I’ve seen or read in American media.
Let’s start. I’d like to talk about 3 scenes in particular.
First, the scene in which we learn about Kitty’s backstory.
Sherlock says, “Kitty was the victim of a horrific crime.”
He doesn’t say what happened to her. We aren’t presented with visuals. It’s not about voyeurism. It’s about Kitty.
And then Joan reads about Kitty’s rape in a file after having been invited by Kitty to do so
I’ll repeat - Joan does not read Kitty’s file without Kitty’s consent
(And - though Sherlock gives Joan the file without consent - he does not allow Kitty to remain ignorant about his actions - he informs her almost immediately that he has given her personal information to a third party and explains himself)
So this is an image of rape from the average Western tv show:
No, there is no image. I’ve included no image becausewe all know what it looks like, we see these images repeatedly.
Here’s an image of rape in Elementary:
[image of an Asian American woman, the character Joan Watson played by Lucy Liu, reading some papers with a glass of white wine in the foreground and bookshelves in the background]
We don’t see the contents of the file. Nor are the contents of the file are described to us. The image of violence is *not for us* - because it’s not about the violence - it’s about Kitty. The viewer is not invited to see Kitty’s personal nightmare - she has not given *us* her consent.
As soon as I saw this scene, I knew I was right to continue to watching this show. How rare is it to see a show/read a book about rape that doesn’t include the voyeurism of rape in it? Honestly, that’s one of the things that I most hated about The Girl With the Dragon Tattoo. I know it’s supposed to be anti-rape and all - but by my reading, it’s still a male fantasy version of anti-rape. I read the book years ago, and I still have the visual image of a man stuffing a live dove up a woman’s vagina. Why is that image necessary to the storyline?
Here was what was necessary to the storyline:
The victims suffered a horrific crime.
That’s all we need. Use your imagination. On screen voyeurism not necessary.
So again, this scene alone has me admiring the brilliance of the writing and directing of Elementary.
The interaction with Captain Gregson and his daughter after he has punched his daughter’s partner (work partner and sex partner) for physically abusing his daughter. Again we don’t see the punch.
‘Punching a bad guy in the face’is a (white cis) male power fantasy - using violence to act out the white knight protecting a damsel in distress - whether she wants him to or not
Instead, we are introduced to the matter with Gregson being castigated by a higher up.
And then the daughter remonstrates with him. The contents of that conversation are also astutely written and I might write another post about them.
But since this post is about Kitty - Kitty and Gregson’s conversation about whether or not he has the right to undermine his daughter’s decisions about her life for the purposes of male protection. Kitty tells him - no you don’t. Just flat out - no. Your daughter is an adult. You’re doing the right thing to abide by your adult daughter’s decisions about her own life. Gahhh! This show!!!
(note - any quotation without quotations marks is not a quotation - it is an interpreted paraphrase.)
And then Kitty protects the daughter by scaring away the partner from the precinct. At the time I watched, I was like - well, that’s a good solution, but a little too neat, a little too convenient - ok. It’s nice to see women who have suffered sexual violence protecting other women who have suffered violence from a romantic partner.
But **combined with the next episode** Kitty’s protection of the daughter is brilliant.
Which brings me to:
Third - the pair of scenes between Joan and Sherlock then Sherlock and Kitty.
Joan has noticed that Sherlock has been sneakily giving busywork to Kitty because he doesn’t want Kitty to date some dude she met in the coffee shop.
This is a problem for several reasons
Sherlock doesn’t have the right to be jealous of Kitty’s time
Sherlock doesn’t have the right to determine who is appropriate for Kitty or when it is appropriate for her to start dating
Sherlock is lying about the reasons he’s giving Kitty busywork and thereby manipulating her (I forget if Joan actually states this third reason, but if not, I am)
And Sherlock confronts Joan - you aren’t Kitty! Who are you to know this girl’s life just because you read her file!
And Joan confronts Sherlock - you have no right to determine what is progress for her when she makes her own progress!
And the beauty of it is - they are both right. Joan, as a counselor, is tempted to counsel Kitty instead of just being a friend - and Kitty is aware of that, she goes to the survivor circle because Joan wants her to and because Joan was Sherlock’s partner first - there is a power dynamic there. Joan also bases a lot of her reaction to Kitty on her own experience with Sherlock - which comes from a very different place than Kitty’s relationship with Sherlock. Yet Sherlock **doesn’t** have the right to manipulate Kitty’s agency any more than Gregson has the right to undermine his daughter’s agency.
So in the next scene, Sherlock asks Kitty to have a conversation with him and states - I’ve been manipulating your time and impeding your progress when I don’t have a right to. That was a mistake. I should have trusted you, your self-knowledge and agency, to determine your own progress. (and i’m sorry, i know i’ve said it but man! the way this show writes characters who engage in introspective personal growth! can you imagine season 1 sherlock saying this? no way!)
And her response is - I know. I know what you’ve been doing and I’ve allowed you to, because your protection makes me feel cared for and loved.
[image of white woman with long brown hair, the character Kitty Winter, showing from the chest up, sitting on a red couch next to brown grocery bags. She is looking down and smiling a little. Wearing a black jacket with epaulette style buttons on the shoulder.]
Like, pause. On American TV, we’ve definitely made the transition in writing to have former portrayals of the rape victim, damsel in distress, become the rape survivor - tough as nails. Has PTSD but is handling it. That’s it’s own trope. Tasha Yar on Star Trek is motivated by her past to become the tough as nails security officer, constantly escaping rape gangs. Even Jessica Jones (which is brilliant specifically in its portrayal of PTSD) doesn’t have people **care** for her. Girl with a Dragon Tattoo? She’s burning stuff down and blowing people up - which is great, nothing against that anger. But where is the care for her, the tenderness?
Here is a reminder to us then - yeah, I’m Kitty, I’m a detective, and I need love. I deserve love. I recognize this love and accept it for myself.
I just - this line just…is excellent. It’s not an either/or. Survivors aren’t damsels in distress or oh-so-damaged terrorizing badasses - there’s room for love without stifling. And each person’s journey and each relationship navigated is different.
And so Kitty’s protection of Gregson’s daughter - yes it’s convenient for the show. But she’s also coming from a place of deep empathy.
May I also mention how brave it is for Kitty to verbalize both her acceptance of and continued desire for Sherlock’s care? This act of trust and vulnerability is one of her most courageous moments.
So what does Sherlock do? Does he gloat like, oh, I was right to manipulate her all along? No. He was still in the wrong.
But now he knows that Kitty wants his protection. He has her informed consent.
So, he offers her a choice. He
Gives her more free time *to do with as she will* stay in, go out, take music lessons, date, whichever
Offers her an opportunity to be in a date-like situation- *with Sherlock as backup* i.e. Knowing that Kitty wants his care, Sherlock offers her more care.
So basically, yeah. I’m not even halfway through season 3 and I’m just blown away.
Even though the
series finale doesn’t give us of Jackie and Hyde, I really like how we
see some really sweet moments between Hyde and the other important woman
in Hyde’s life, Kitty.
Earlier in the episode we see Hyde buying
Red Packer tickets to help get him to stay in Place because he knows
Kitty has has second thoughts about moving. We even see Kitty giving him
a big, long hug.
And then during Kitty’s emotional speech she
calls Hyde “my second son” and tells him how much she adores him. This
is probably one of the sweetest parts in the episode, the smile that
Hyde gives at hearing this is the cutest. Even if it’s kinda hidden by the mustache.
Also gotta love the fact
that it’s Kitty who is the one to tell Hyde he needs to shave that 40
year-old male prostitute mustache off.
But the moment between
Hyde and Kitty in this episode that is really cute and makes their
mother-son relationship feel even more real is this moment here
following the last Foot in the Ass of the decade…
They clink their drinks together in a toast! It’s a little moment but a really sweet little moment.
This is also the last shot of the series that we see of Red and Kitty.
“Ty climbed up onto the porch beside Kit and sat down. He smelled faintly of desert, sand and sage. Kit thought of the way he liked the sound of Ty’s voice: It was rare to hear someone get that kind of sincere pleasure out of simply sharing information, but Ty did.“Why are you outside?” Ty asked. “Are you thinking about running away again?”“No,” Kit said. He wasn’t, really. Maybe a little. Looking at Ty made him not want to think about it. It made him want to discover a mystery so he could present it to Ty for solving, the way you might give someone who loved candy a box of See’s.“I wish we all could,” Ty said, with disarming frankness. “It took us a long time to feel safe here, after the Dark War. Now it feels as if the Institute is full of enemies again.”
Lord of Shadows - The Dark Artifices - Shadowhunters
It seems I keep coming back to older episodes and things that have struck me there. Like this:
Whatever was it that Kitty Riley published about Sherlock? Not the big lie but the many small truths? Or, before we start, let’s assume for a moment it was all lies. It was all a sham concocted by Sherlock and Mycroft. Fine. But would they really have dared to bait Moriarty with lies? To feed Kitty what was untrue and could be disproven as such by a man with Moriarty’s cunning and resources?
So I suppose it was true. But what could it have been? Losing his dog? Disharmony during the Christmas dinners? Hardly. And you know what bothers me most? John read this stuff. But he does still not seem know anything at all about Sherlock’s past. He doesn’t know about Redbeard or about Sherlock ’s parents. And yet we get this:
“ …things that only someone close to Sherlock could know.”
“in return you had to offer him Sherlock’s life story”
“And you have given him the perfect ammunition.”
He read this. So how are we supposed to believe that in series 3 he seems to know so little about Sherlock? Thoughts?
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