Even after hearing the warning about the dangers of traveling to Planet Jarre, Fala, along with Kurogane, Suzuishi and Seidou are determined to help liberate the planet from Galra reign. Though Kogane was against it at first, he realizes he cannot change the minds of his teammates and joins them on their mission.
I’ve started watching Father Brown on Netflix and I’ve taken quite a liking to it.
Similar to Sherlock and White Collar, I’ve really enjoyed it because it’s a Cop Show without all the things that usually make me hate Cop Shows– y’know, chest-beating interrogation scenes, a general attitude of moral fury, on-the-nose manipulative storytelling designed to make you think the newest suspect is the perp when you KNOW a twist is coming, implicit “shut up and trust the system” messaging.
I’ve been thinking for a while that every police procedural, or similar villain-of-the-week drama, has this implicit structure where there’s three types of people: cops, criminals, and bystanders, and the fundamental character of the show comes from which of these groups are considered more similar to each other than to the third– which of the groups are two sides of the same coin, and which is the outlier.
Sherlock and Moriarty are more similar to each other than either of them is to the rest of the cast. Same goes for Batman and the Joker, or White Collar’s Neil Caffrey and the con artists he chases after. In these shows, the Cops and Criminals are two of a kind, conducting a secret war with each other, and the Bystanders are the outliers.
Whereas in a standard police procedural like Law & Order or NCIS, the cops have a kind of contempt for civilians, and the narrative tends to focus on the ways in which Bystanders interfere with police work, usually by keeping secrets, or by government bureaucrats and private sector institutions challenging police power. In these shows, the Bystanders and Criminals are two of a kind, both “people who get in the way of THE LAW”, and the Cops are the outliers, the Only Adults in the Room keeping the squabbling children in line.
The Cops and Bystanders are considered two of a kind in Sentai shows, like Sailor Moon and Power Rangers, where there’s a lot of focus on the protagonists living double lives as both superheroes and civilians, and also in many adventure stories, where one of the major themes is the protagonists as ordinary people thrust into extraordinary circumstances. In shows like that, the Criminals are the outliers, and tend to be not merely strange or bad people, but an altogether otherworldly force.
But in Father Brown, these distinctions don’t exist. There are no hardened career criminals, heroic ubermensch cops, or clueless civilians. Everyone’s just people. And I think it’s the fundamentally religious character of the show that allows this to happen: nobody’s a superhero, nobody’s a monster, we’re all just all-too-human sinners.
my favorite part of the “are you giving me attitude, spock” scene is that i imagine the starfleet brass was like “kirk has spock as first officer? good, maybe spock will rub off on him” and their simultaneous and dawning horror that the exact opposite has happened
prompt: since j'onn knew bc he can read minds, how about a fic where he learns about maggie or something? :D
It was never for him to say.
And it wasn’t. He always felt guilty for knowing but he
couldn’t help it - sometimes people just thought too loudly. Alex had. Hell,
every day her mind was on fire since she met this cop at a crime scene.
Who did she think she
was? That was my crime scene. Jerk.
Alex’s attitude quickly changed, softened.
She’s smart. Cocky,
but smart. Kinda fun too.
The more time she spent with this Maggie girl, the more her
thoughts shifted, turned into questions.
Can I trust her? I can
I like her…how? How do
I like her? What do I like about her?
Then something must have happened, or have been said one day,
because the next time he saw Alex, her thoughts were all over the place.
I’m not…no it’s not
like that…but I do like her. Maybe. Maybe, I don’t know, why is this so hard? I’m
nearly thirty, shouldn’t I know things like this by now? It’s just her, it’s
gotta be just her but, but…
He had left before learning more about Vicky. Again, it felt
wrong and he felt bad for hearing as much as he did but he felt even worse for
saying nothing. Alex was confused, scared, overwhelmed – he was helpless,
knowing that saying anything would overstep boundaries and might make her push
down her feelings further.
The next day he sees her, she uses the word and thinks about
Am I gay? ‘Cause it’s
not just Maggie, I felt something, it, with Vicky too. Didn’t I? It wasn’t
nothing. Maybe not in the same sense as Maggie, Maggie feels different,
stronger, I…shit. Why is this so hard?
Again, he wants to hug her and tell her that she’s okay,
that he loves her and that he just wants her to be happy but he can’t. It wasn’t
He smiles as Alex becomes sure of it, of herself.
I’m gay. I like
Maggie. She’s smart, she’s tough and beautiful. She’s perfect.
His heart breaks when Alex’s breaks.
I was so stupid. I
should never have kissed her. She never liked me, she was just being nice.
His heart heals when Alex’s does too.
I have a girlfriend.
Maggie is my girlfriend. Maggie actually likes me.
He tries to block out the things that he doesn’t need to
hear but it’s hard because Alex’s thoughts are as loud as they are happy.
Please nobody notice
my neck. Please, I don’t want to have to make up some imaginary guy to have to explain
those stupid hickeys. Perfect ass or not, Maggie you’re gonna pay for last
Her abs, fuck, they’re
perfect. She’s perfect.
I wonder if she’d wear
her dress uniform if I asked her nicely?
He never feels more relieved when she asks the gang to meet
in the bar, to meet the person she’s dating – she was particular with her
wording that day – and he never feels more proud when she introduces Maggie to
everyone with a shy smile which quickly expands as everyone else smiles, and
welcomes the detective with open arms.
for @justicarlexa: @someone that’s better at analysis than i am, talk about the clarke/niylah pre sex and clarke/lexa post sex parallels
Okay I think we all get the main difference between the two encounters. The one with Niylah is just sex, is Clarke needing something to take her away from her pain for just a moment. With Lexa is obviously much deeper than that. It’s about consummating their love. But to even into more detail…
The biggest difference between the two scenes is Clarke’s attitude towards her partner: selfishness vs altruism.
Clarke is clearly enjoying Niylah’s attentions. After spending so much time on her own, she revels in having someone taking care of her. That is, until Niylah brings up the Mountain, Clarke’s demon. That’s when she completely shuts down, to the point of being almost aggressive towards Niylah with her response.
The damage is done, though. Now that Niylah mentioned what Clarke did, her simple care isn’t enough to quiet Clarke’s mind anymore. To numb the pain, Clarke needs more. So she asks for it, quite directly; guiding Niylah’s hand to her breast. But her need for inner peace is so strong that she has no time to wait for Niylah to move past her hesitancy and initiate things. And so, Clarke goes for it. She takes what she needs, and keeps taking, controlling the whole situation. Niylah goes along with it, because this is something she wants too, but the scene is never about her. Clarke is focused solely on what she needs here, and we, the audience, do the same. Everything is hot and fast and frantic because that’s how Clarke is feeling. We are even shown a brief moment where Clarke seems to almost panic when things slow down for the shortest moment.
She reaches up for Niylah, but not because she is connecting with her. It’s because Niylah is her way to forget. Clarke uses Niylah for her own needs. That’s the selfishness I’m talking about.
And then we have the scene in bed with Lexa. Which is the complete opposite. Even before that scene, we see how different Clarke acts when compared to her actions with Niylah. Right after sitting Lexa on the bed, Clarke pauses.
She stops, searches Lexa’s eyes, gives her a little nod. She is asking a silent question here, she is making sure that Lexa wants this as well. This isn’t about taking, like it was with Niylah. It’s about sharing and connecting and giving. Then they fall into bed, the screen fades to black, and what is the first thing we see immediately after that?
We see her taking care of Lexa. She is gently tracing her tattoos, first on her arm then on her back. She never stops caressing her, she smiles at that cute, relaxed “Shhh…”. Happy about Lexa’s happiness. There is also a sort of protectiveness she seems to have towards Lexa. She lies behind Lexa, spooning her. Lets Lexa rest, contented with just these innocent touches. It’s very likely that she was the one who told Lexa that it was okay to turn around and rest after they made love. She clearly enjoys making sure that Lexa feels safe and cared for. This is her main concern in this scene: Lexa’s needs, not her own. Hence the altruism part.
Also Clarke doesn’t stop at just caressing Lexa’s skin and connecting with her physically. She asks questions about the tattoos, about Lexa’s history. She is curious, wants to know more about Lexa. She doesn’t want just Lexa’s body, she wants Lexa in her entirety. She wants her body and her soul and her secrets and her history. But also, she respects Lexa’s wishes. In that moment, Lexa wishes not to talk about the story behind her back tattoo. And despite her curiosity, Clarke doesn’t push or show signs of disappointment.
She obviously noticed that Lexa grew sadder after they mentioned the Conclave, so she offers Lexa a distraction from that pain. Contrary to the scene with Niylah, this time Clarke is the one offering comfort, not taking it. And the comfort here doesn’t consist in Lexa using Clarke to forget her sadness: the comfort comes from sharing the love they feel for each other. It’s about making things better simply by being together.
So, to sum up, Clarke and Niylah was all about “I”, Clarke and Lexa is all about “We”.