scandal monologues

Damn shame. I tell you… being a black woman. Be strong, they say. Support your man, raise your man, think like a man. Well damn, I gotta do all that? Who’s out here working for me, carrying my burden, building me up when I get down? Nobody. Black women out here trying to save everybody and what do we get? Swagger jacked by white girls wearing cornrows and bamboo earrings. Ain’t that a bitch? But we still try. Try to help all y’all. Even when we get nothing. Is that admirable or ridiculous? I don’t know.
—  Maya The Goat 🐐 Pope, Scandal (“Tick Tock” (615))
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AU Mellivia | And I remember when I met her, it was so clear that she was the only one for me. We both knew it, right away. And as the years went on, things got more difficult, we were faced with more challenges. I begged her to stay! Try to remember what we had at the beginning. She was charismatic, magnetic, electric and everybody knew it. When she walked in, every man’s head turned, everyone stood up to talk to her. She was like this hybrid, this mix of a woman who couldn’t contain herself. I always got the sense that she became torn between being a good person and missing out on all of the opportunities that life could offer a woman as magnificent as her. And in that way I understood her.
And I loved her.
I loved her, I loved her, I loved her.
And I still love her!
I love her!

I don’t understand where they think this damn speech was great at? We support sex shaming women now? I mean Joe is a great actor and he always delivers but this speech was trash and degrading 🙎🏽🤦🏽‍♀️💆🏽 ☝🏽see what we not gone do is sex shame Olivia and celebrate it esp when yal asses the one writing her like that! But I get it Rowan wanted to get under Fitz skin and he used Olivia to do it, deep down even Rowan knows Fitz is in love with Olivia and it’s deep, it’s not some fairy tale bs! He knew to get Fit to tick he has to take a jab at Liv the fact that she’s his daughter didn’t matter because he’s trash who would, will, and has thrown his daughter under the bus! Rowan can’t stand that Fitz and Liv are in love with each, I mean he even killed Jerry talking about “you took my child so I took yours.” But back to Olivia, How you go from telling her to be “twice as good” to calling her a whore in front of a room full of people? 😤😠 Fuck Rowan and anybody who liked that bs monologue

Originally posted by n-wordbelike

知花諒 の エンディングCM / Chibana Ryo’s Ending CM

俺がこの場所に戻ってこられたのは
きっと君のおかげだ
だから

こっちみて
大事なこと 話しだから

ひどい男だったな
気持ちを確かめるように
君を求めた

でも気付いたよ
失ったものを
キミがもう一度与えてくれたんだ

・・・愛してる。

English Translation:
I’m really grateful to you, for bringing me back here.
So…

Look here.
This is really important.

I was a cruel man to ask you to take my place while I was gone just to ascertain my feeling.
But I noticed that, once again you had given me back what I had lost.

…I love you.

Translation: るい (Rui)

End it. Now…You have nothing. You have a pile of secrets and lies, and you’re calling it love. And in the meantime you’re letting your whole life pass you by while they raise children and celebrate anniversaries and grow old together. You’re frozen in time. You’re holding your breath, you’re a statue waiting for something that’s never going to happen. Living for stolen moments and hotel hallways and coat closets. You keep telling yourself they all add up to something real because in your mind they have to, but they don’t. They won’t. They never will because stolen moments aren’t a life. So you have nothing. You have no one. End it now.
—  Olivia Pope, Boom Goes The Dynamite
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#Scandal #Olitz opening monologue from “We Do Not Touch The First Ladies." 

There aren’t much stars to tiptoe on, instead we drink what our throats can massage our brain’s walls with dreams of better days, where storms didn’t tie knots of perplexed anxieties, only the sun swallowing wine stained eyes, turning them into clouds shaped of puppies, or turtles. Of dragon warriors with fairies sprinkling insomnia away. Of castles on a hill where blades of grass pinched our skin to our rattled bones it almost showed distance a greener pasture in another space. Where our I love you’s were a clean slate, instead of a scandalous monologue, it was poetry’s figment of extraordinary.

And I knew better than to count the cracks where the sidewalk cut itself so lost plants can sprout possibilities, I knew better to watch my reflection ripple the consequences I tried to blur in the water; my hands washed the red out of roses so your cheeks can blush them, my hair paved a way to cushion my doubts from growing out their rooted commentaries, the moon was full of the dreams it collected from my subconsciousness, your name clawed volcanoes to erupt sense, because I knew this made sense. This made perfect sense, I forced a miracle out of the mistake they said I would make, because they thought hell glared infernos in your eyes, but if they looked close enough there, heaven’s light was your shade of brown, your halo forged of bravery, you used your wings to hale my scars still bleeding past conspiracies, you are my purest intention to love the way society saw it as a vermin, as a roach, a pest, a good for nothing firework bombing a scattered reality of my unwillingness to listen.

Because if I listen, I’d hear what I want to prove them was wrong over sirens coming for me, that this was an emergency, an accident I needed help or saving from all the bruises that aren’t there yet, but they know I will get if I kept thinking for a second that this will take me to my destination on the right track, to my happy ending expectations, of you not on a white horse, but a bus with only the blue sweater I gave you last January as your most stealthy armor. You and I battled tsunami curses, and quaking misfortunes, I’m not scared of the hurricane’s eye rolling at me with undignified scoffing. I’ve went through hell; you were my only sight of an afterlife worth living.

—  sense // s.c
#Monologue Monday (#Scandal 405): On Rowan, Olivia and Jake

[photo by thecalmabove]

Rowan: “Jake was my agent. I trained him. I sent him to monitor you, to gain your trust, destroy your relationship with Fitzgerald Grant. I did that. There are many things that I ordered Jake Ballard to do in the service of B6-13, and, yes, at times, in the service of my own personal agenda. But killing Harrison was not one of them. Jake did that on his own.”

Olivia:  “And Jerry? Are you telling me that wasn’t some kind of sick payback.”

Rowan: Jerry Grant? No, Olivia, that was you… You wanted to win the election. Jake knew that, knew that you wanted it more than anything. He asked you to save him, to be with him, repeatedly. He was obsessed with you. He gave you exactly what you wanted. And then he blamed the death of Jerry Grant on your mother, creating a barrier that was insurmountable; so that you could never be with the President again. How could you, when your mother was responsible for killing his son. What love could survive that? Jake did that. Jake made it so that you had no choice but to leave, go away forever.

Olivia: “If that’s the case, why didn’t you tell me?!”

Rowan: “You were leaving for the island. I thought you would be safe. Imagine my surprise when I found out you took Jake Ballard with you. I considered brining you back, but I knew that he would never hurt you–knew that he loved you. I know that still because I trained him because there was a time when he belonged to me. I just wanted you to be happy. That’s all I ever wanted. “

Can we talk about this scene?! I’m giving it the #ThisMotherfuckerRightHere award. This scene with Olivia and Rowan was one of two geniously written scenes in The Key, the other being the Oval scene with Fitz and Mellie. Both took place inside offices, about matters which are deeply personal: life, love and the pursuit of happiness. I spoke of the Fitz and Mellie scene in There are No Good Guys last night. This scene with Rowan and Olivia required a separate treatment because I… have a lot of feelings.  I don’t think the scene is brilliant because of Rowan’s aptitude for weaving lies, but because of the content of his lies. There were some really important things said that take us way back to the genesis of Rowan and Jake, an interventionist pairing who entered the narrative in season 2B. Let’s approach the scene as a Rowan monologue, in three parts.

Rowan cont.: “Jake was my agent. I trained him. I sent him to monitor you, to gain your trust, destroy your relationship with Fitzgerald Grant. I did that. There are many things that I ordered Jake Ballard to do in the service of B6-13, and, yes, at times, in the service of my own personal agenda…

It starts off as a full circle moment before morphing, with precision, into a layered trifle of lies and truth upon lies and truth upon lies and truth. It is then topped off with a layer of cream to make it go down smoothly. I never thought I would see the day when Rowan admitted that he exploited Olivia for his personal agenda, which he later claims to be that of her happiness.

Fitz was skewered throughout all of season 2B for hiring Jake to keep an eye on Olivia when he felt he could not trust her (quiet as it’s kept, he also can’t resist knowing about her in any way possible). It was made worse when Olivia ended up in the hospital because of this same man that Fitz ordered to watch over her. But lo and behold, we then find out that Jake is actually a double agent, assigned by Rowan to seduce his own daughter, produce evidence of the sexing, which he then had Cyrus  deliver to Fitz to watch (218-222). The presumption by Rowan was that Olivia was nothing but Fitz’s favourite concubine property, which he would discard upon discovering that it had been sullied by another man. Except that’s not what happened (222). This gives you true insight into the low regard Rowan has for Olivia as a woman, and, in some ways, how he views relationships with women.  Almost immediately after the season 2 finale, everyone focused on how Fitz was “de-balled” because of his head in Mellie’s lap (I will remind you about my rightness on that one once again ;o)). I wrote about how problematic that language is, and that my bone of contention concerned the exploitation of Olivia’s sexuality and privacy at the hands of various men in her life: Rowan, Jake, Cyrus, Charlie, and even Fitz. He’s included in that because he thought to have her watched in the first place, which is an invasion of her privacy (he’s been doing this since season 1. That’s an essay unto itself). 

Let’s not forget that SSA/B6-13 member, Tom, was the facilitator in getting Jake to surveille Olivia. Tom was the one Fitz asked to leak Olivia’s name to the press (301), something Rowan knew would happen and did nothing to stop it. All of that to teach Olivia a lesson about her n’er do well boyfriend. Now Tom has been stitched up by Rowan for a crime he ordered him to do. Full circle after 31 episodes. Damn.

What angers me the most about fan reactions to Rowan is that his behaviour gets justified, in part, because he’s Olivia’s father. A father going to great lengths to protect his daughter from a man he sees as unworthy of her, is what many folks see. They also enjoy the fact that this black patriarch is more powerful than the Fitzgerald Grant they love to hate, and that Rowan regularly speaks to Fitz the disdain one reserves for a spoiled child (310). Because of this wish-fulfilment of seeing a successful, powerfully masculine (if not stereotypically so) black man on TV “stand up” for his daughter against the great white patriarchal symbol of privilege on the show, so many of us miss the many ways in which Rowan degrades Olivia as a person. His interventions rob her of her agency as an adult woman. I don’t have to regale you with examples from seasons 2 and 3 for you to get the point.

Rowan cont.: “But killing Harrison was not one of them. Jake did that on his own…Jerry Grant? No, Olivia, that was you. You wanted to win the election. Jake knew that, knew that you wanted it more than anything. He asked you to save him, to be with him, repeatedly. He was obsessed with you. He gave you exactly what you wanted. And then he blamed the death of Jerry Grant on your mother, creating a barrier that was insurmountable; so that you could never be with the President again. How could you, when your mother was responsible for killing his son. What love could survive that? Jake did that. Jake made it so that you had no choice but to leave, go away forever…

And now the lies start to slip in. Did Jake actually know how much Olivia wanted to win the election? As far as what we were shown of their communications in season 3, I call bullshit. We saw Olivia and Fitz address the stress of wanting to win (311, 316). Rowan, it was Olivia who told you, on your hospital bed, that she wanted Fitz to win the election (318).

Rowan to Harrison: “My daughter wanted him to be President. Daddy took care of it. I promised I wouldn’t harm a hair on [Fitz’s] head, and I didn’t. I gave him four more years, but there’s a price—a price of a free and fair election. He took my child, so I took his.”

In 404, Olivia told Fitz that he should not apologize for ordering her mother’s death. In killing his son, Olivia says that Maya ruined both their families as well as her relationship with Fitz. Though Rowan is pinning the blame on Jake, he is accurately relaying the intended denouement of having Jerry killed. Rowan profoundly does not believe in a love like what exists between Olivia and Fitz. No one in the Scandalverse does, actually. Various characters have tried to codify the Olitz relationship as a tawdry sex addiction, a phase. We constantly get these break-up interventions because this love cannot be. Yet it is. The loss that Olivia felt in 318 was directly connected to her parent’s attempts at destroying the lives of those she loves. How could she help Fitz grieve, how could he still look at her and love her knowing that her mother deliberately killed his son? Who would want to bear that burden, looking for the tide of love to turn to disgust one day?

Rowan also says what I have always believed to be, in part, true: Jake’s obsession with Olivia as his personal savior. Rowan must be gleaning this from surveillance footage, otherwise how would he know. Olivia is momentarily taken aback by Rowan’s words because that “save me, run away with me” language is very familiar to her. It was one night prior that she herself wondered if Jake’s absence meant she should be saving him (wtf kind of a relationship is that?).  She cannot deny it, and that’s when the doubt starts to creep in. The save/me escapist narrative is literally what Jake plead to the pre- Gone Girl in318. Before then we heard it numerous times, most notably in 313, alongside the fantasy of running away together to “stand in the sun”.  By pitching familiar language alongside blatant lies, Rowan creates a plausible motivation for Jake escaping with Olivia.

It was during this portion of Rowan’s monologue that a familiar Scandal camera trick was used. We usually see it being used during OPA case strategy sessions (and blocking for too-hot sex scenes). The trick obscures the audience’s vision through glass objects, presenting what’s on our screen in parts, not as a whole. At one point, Rowan was split in three parts on the screen. He was talking out of all sides of his mouth, and other orifices.

Rowan cont.: [I didn’t tell you because] you were leaving for the island. I thought you would be safe. Imagine my surprise when I found out you took Jake Ballard with you. I considered bringing you back, but I knew that he would never hurt you–knew that he loved you. I know that still because I trained him, because there was a time when he belonged to me. I just wanted you to be happy. That’s all I’ve ever wanted. “

Rowan, like Mellie, has a skewed sense of what love is. He just remarked that Jake is “obsessed” with Olivia, constantly asking her to save him and run away with him. How can he reconcile that with a love that is safe and trustworthy? Is it because Rowan remarked earlier in the episode that Jake reminds him of himself at a young age?

If I was Olivia, I would run upon hearing that comparison. As I explained in There are No Good Guys, Rowan cares more about Jake’s bootstrap narrative, the practicality of having two of his possessions together. He doesn’t care about what Olivia actually wants for her life. Can someone both be obsessed and in love you? I guess some could say that Fitz is both obsessed and in-love with Olivia, as she is a pre-occupation. Fitz wants to create a life with Olivia, one that is based in another time (future) and another place (Vermont) (302). Though it’s a fantasy, it’s built on creating something together (family, jam, etc.). Jake on the other hand blatantly asks for saving, while also trying to grab opportunities to play hero to Olivia by besting her father (304, 309, 317). The latest one nearly cost him his fingers:

Jake: “Shut your stubborn, old man mouth up. You’re done giving orders. You’re leaving. You’re done in Washington for good. You’re no longer the head of B6-13. I’ll give you however long it takes to pack up this sad old house and then you disappear. Quietly. You never contact Olivia again. You never get another chance to hurt her. Or you can stay, keep up this father knows best routine. Try to worm your way back into her life by…roasting pork? But, I don’t know, I personally can’t see her falling for your act once anymore after I show her concrete proof that you killed her best friend and the President’s son. But listen, I know of this island. It’s beautiful. Mosquitos, they can be a bit of a nuisance. But I think you’ll manage. The only unfortunate thing about your sudden departure is that I won’t be standing over you when you die.”

Rowan: “Make you feel good, Ballard? Putting the screws to me? Feeling a few inches taller? Makes you feel like a real man! It’s exhilarating, isn’t it? Go ahead, soak it up. Revel in it because trust me, I will be the one standing over you when. You. Die.”Inside the Bubble (403)

That exchange indicates to me that these two people must leave together because they came into the narrative together as agitators, interventionists whose purpose is to disrupt Olivia’s life and choices. I don’t think Scandal will give me that kind of symmetry, but a girl can dream. Jake’s entire attitude toward Rowan is paternalistic on Olivia’s behalf. If he really wanted to expose Rowan, he wouldn’t wait until he could look like a hero. He would have shared to intel on Rowan’s murderous shenanigan’s, which he possessed the night Olivia commanded him to fuck her (402).  Rowan and Jake can both die for me. Olivia needs to banish Rowan, or find some way to depose him in her life. I keep saying this, but she cannot live until he dies—metaphorically or literally. The fear of her father’s retaliation against Fitz (and others she loves) keeps her with Jake. If Rowan is not there, Jake loses his relevance in her life very quickly.

Rowan concludes this canard with a fatal flaw. He assures Olivia of Jake’s love by referring to Jake as one of his trained possessions. You see, the unspoken words there are that Olivia is also his possession, one whose training has come undone after meeting Fitzgerald Grant. Olivia has gone off script, and it’s been Rowan’s job to fix her. This story is really just an extreme version of any problematic father who thinks his paternalistic inclinations are justified no matter what. Have we not seen countless examples of this with Rowan?

Lastly, Rowan makes a fatherly appeal to Olivia’s happiness, something we first heard him say in Guess Who’s Coming to Dinner? (302). Both of Olivia’s parents justify their interventions into her life as a means of ensuring her happiness. Maya accused Olivia of not being happy enough in 309, then told her in 318 that she tried to blow up Fitz so that Olivia could be happy.

If we suspend the fact that the overwhelming majority of Maya and Rowan’s interventions have made Olivia’s life worse, happiness cannot be engineered by anyone but the self. Even though happiness is not a destination, but hopefully a recurring pit-stop along life’s journey, no one but Olivia is in charge of getting her there. That’s what I would really like to see this season. Far be it from me to wish Olivia to be completely parent-less (I’d like to trade Rowan for Maya). From a personal perspective, I identify with the tension between a parent who abandoned their child during adolescence, and in adulthood sometimes behaves in awful ways toward you. There’s still a desire to receive parenting from them, but of the affectionate persuasion, not the righteously indignant kind. I’d like Rowan to ‘die’ so that Olivia can live.