the people must see us be us; even when we're not

rodlox  asked:

Top Five moments in _Kings_.

  • always alwyas A L WAYS - ‘beneath the veneer of civility, we are all children of cain.’ if only just for the way sebstan’s mouth tightens and his eyes go bright and he’s only seconds away from the knife-edge of control and lurches up and hits and hits until he sees blood. BUT ALSO because oh my god this show’s language as a performance this show’s ability to blend biblical/period language with modern settings and do it so that it’s slightly out of sync but you BUY IT ALL THE SAME. the fact that they did in canon cain and abel imagery tho kill me kill me K I L L MEEEEE
  • ‘how do you kill a man that god protects?’ 'easy. with a bullet.’ THIS ENTIRE SCENE. VESPER ABBADON THE GENIE IN THE BOTTLE, VESPER ABBADON L I T E R A L L Y THE DEAL WITH THE DEVIL, WHO TEACHES SILAS HOW TO BE A TYRANT. THIS ENTIRE SCENE YOU CAN TELL HOW MUCH THEY LOVE THIS DIALOGUE, HOW THEY ROLL THE WORDS AROUND IN THEIR MOUTHS LIKE FINE WINE - 'i know you, silas. you’re not a tyrant. but you could be; if you tried.’/’those for, plant in front of the cameras. those against, plant in the dirt.’ ‘that simple?’ ‘don’t hide it. anyone plotting against you will do it slipping in a blood puddle.’/’now, you rule by night.’ there’s such a perfect rhythm and flow and beat to the words and OH MY GOD HOW DO YOU DIALOGUE
  • 'they didn’t come to see dancing. they came to see us, the royal family. we are the performance.’ EPISODE FUCKING FOUR. AND THE FACT THAT JACK SAYS THE EXACT SAME THING TO DAVID; THE FACT THAT IT’S THE SHADOW MOTHER AND SHADOW SON WHO UNDERSTAND THE MECHANICS OF THIS MESSIANIC KINGSHIP THEY’VE GOT GOING ON - THAT IT’S NOT A THING THAT IS, BUT A THING THAT GROWS, A THING THAT HAS TO BE MAINTAINED LIKE ANY OTHER POLITICAL ORDER. WE ARE THE PERFORMANCE. THE MOMENT WHEN I WHISPERED ‘OH NO THIS SHOW IS GOING TO BE A PROBLEM.’
  • similarly - ‘but when the dust settles, and memory fades, you’ll be thought of as a woman. sexual, desirable, formidable. and you’ll wield that power in ways young women cannot.’ i ’ m. i still can’t be coherent about this because - god literally the most perfect take down of that madonna/whore dichotomy i have seen that doesn’t reduce that image down to what it is on the surface - sex - but what that image is in relation to power which is ALL THIS SHOW IS EVER ABOUT AND I LOVE IT. the compartmentalization of women into stock archetypes, and the fact that rose is literally teaching her daughter, step by step, how to take the labels other people give her and hone it into a performance, how to utilize the power of language and make plain words into something as strong as a right hand man. T H I S  S H O W.
  • and of course, no list about kings can be complete without - ‘you want to show me you have the heart to be king? show me you can control this. wrestle it to the ground, numb it with ice. you cannot be what god made you, not if you intend to take my place.’

honorary mentions:

  • 'you made your first true kill. no easy feat. it changes the colour of your blood, paints your conscience.’ 'you don’t owe me anything.’ 'words don’t settle debt.’ HOW DOES A SEBSTAN??? I WANT TO KILL YOU AND FUCK YOU AND LOVE YOU AT THE SAME TIME face
  • 'be the lamb, or be the knife. try to be both, and you’ll end up slaughtering yourself.’
  • 'a monarchy stands for the singularity of its king; all vectors pointed here.’
  • 'you may have the will, but i maximize your effect.’
  • 'if you don’t sit.’
  • ASH ON DAVID’S FOREHEAD; PERFECT FROM THE FIRST.’

okayophelia  asked:

mcu captain america in a kings au, go:

There is a war raging against Gath that swallows entire platoons and lays regiments to waste. They have tanks, the newspapers say, tanks that roll over men and machines alike like some primordial beast of myth, in the half hazy fog before God, before life. In an enlistment office in Susa, Steve Rogers sits, his breath rattling around his asthmatic chest, hoping against hope that this time, this time, they’ll let him in.

He is reading the paper when the call comes from outside, the hush fall of silence, the click clacking of expensive heels on custom shoes. The security detail files into the room, speaking into their comms. Outside the window, a black town car with tinted windows and the Gilboan flag is pulling up next to the office, and the men are cramming at the windows to see. The orange butterfly flutters in the wind, and he stands.

The princess is beautiful. Everyone knows that. Michelle Benjamin is calm and smiling, and there is a genuine curve of kindness in her smile. She gives off the impression that she actually wants to be here.

The prince? Not so much.

Jack Benjamin gets out of the car, and doesn’t wait for the driver to close it. Instead, he kicks it closed with his foot, clad in an expensive loafer. There is a cigarette hanging on his mouth. He drops it on to the ground outside, and grinds it into the pavement. Something not his breath, something like annoyance rattles in Steve’s chest. Some cleaning crew, he thinks, will have to scrape that off the pavement later.

The men clammer around crawling over each other to get a look at the princess. She clasps their hands, a kind word for each. Thank you for serving our country. We are all so grateful for your sacrifice. The king would never ask it of you, if he didn’t think it was absolutely necessary.

Jack Benjamin lingers behind his sister, more like glorified security than a prince, hands in his coat pockets, watching Michelle turn pre-written words into genuine sentiments not through craft, but through sincerity, and the annoyance in pit of Steve’s stomach turns into low bubbling rage when he sees him roll his eyes.

Across the room, Jack Benjamin meets his eyes, and his mouth quirks. Smoothly, he makes his way across the room.

People watch, Steve notes, when he moves.

“You’re going to be cannon fodder.” Jack Benjamin says to him, too low for anyone else to catch. He is still smiling.

“Your Grace.” He bites his tongue. He knows his manners, he knows who built this country. He knows how to treat royalty, knows - as everyone keep reminding him - that they function differently from the rest of us. They are different, inside. An ounce of blue blood is worth more than a kilo of the normal stuff. Why else, then, is Jack Benjamin, six feet tall and a hundred and eighty pounds, not sitting where he is, all five feet four of him? It’s mathematics. How many Steve Rogers are there in the world, and how many Jack Benjamins? What is one man, to a prince?

“Not very talkative, are you?” Jack waves a hand at the rest of the men gathering around, and they draw backwards. Steve bites his tongue. “Probably not very smart, either. Else you wouldn’t be here.” A moment, and then Jack leans closer, voice low. “Go home, buddy. I’m saving your life.”

“The king needs every man.”

Jack snorts. “The king needs able men. The king needs men who won’t crumple under their rifles, who can sprint to the front line without coughing up a lung.”

His fist have clenched. With an effort, he loosens them. “Then why aren’t you enlisting?”

There is a beat of silence. Steve knows all the stories, knows all the hearsay that gets plasted across the gossip pages. Jack Benjamin, driving under the influence, causes a crash on the main highway. Jack Benjamin, high on half a dozen illegal substances, is featured in a sex tape that just got hurriedly taken down by Unity Hall. Jack Benjamin, arrested for assault at a nightclub. The bail is enough to feed him and his mother for months. Jack Benjamin has eyes you expect to see through helmet slits.

“I could have your tongue out for that, you know.” He says softly, now. “In Vesper Abbaddon’s day, he would have made you choose between that and your fingers. All ten of them.”

Jack Benjamin watches him contemplatively for a moment, and then stands. He gestures to security, and they follow him out the door.

Steve lets out a breath he didn’t know he had been holding.

Two weeks later, he is enlisting at another office in Sidon when he gets pulled aside. For a moment he is terrified that they are on to him, before a kindly man with an accent tells him that he is being drafted, on special royal recommendation.

Three weeks later, the front page news declares that the prince has, for love of his country and a wish not to see anyone suffer before him, signed up for the army, and will be receiving basic training at the same facility that Steve is heading towards.

He stands next to the prince, when they get sorted into 127th. When the platoon is ambushed, and air cover recalled, Steve Rogers takes the bullet for the prince. Steve Rogers is nothing more than an asthmatic man with a heart condition, and Steve Rogers dies without medical attention as the prince is taken hostage.

“I lost men.” Jack Benjamin says to his mother.

okayophelia  asked:

10 except opposite. favourite season-long arc/mythos?

i saw this ask and FIFTEEN DIFFERENT ARCS popped into my head at the same time, because like god, mythos is my whole deal but i think there is a lot to be said about thought behind the arc+actual execution of arc and the sad thing is that although there are so many different arcs i love, there is virtually none that i would consider to have fulfilled both aspects but you know what fuck that im making a list

(also like, my fave arc for ladies is growing into the myth and my fave arc for dudes is a slow decay lol i hate men)

  1. silas benjamin’s descent into tyranny, the slow chipping of that god-favour, the inch by inch slide into the dungeons of gehenna. what i love about this particular arc even though you know, it doesnt Own My Soul the way jack does, is that i think construction/execution wise it is the best arc on this show; so far. (WE NEVER GOT DAVID’S FULL ASCENT INTO MESSIANIC KINGSHIP OR JACK’S ACCEPTANCE OF THE LIONHEART ROLE SO YOU KNOW) the whole arc is framed as silas selling his soul to the devil/rubbing the genie lamp (vesper abbadon), who is trapped in GEHENNA - literally, hell - as he slides further and further from god and loses the reverend’s sanction. there’s a nice sense of panic ridden paranoia that drives him deeper and deeper into what he actually becomes; though its not a huge arc for him? he was morally grey in the first episode, he ends up being morally charcoal.
  2. atia of the motherfucking julii. remember what i said about growing into the myth? a t i a . this is the only one i’ve seen so far, i think, that i’m equally fond of both the idea behind the arc and the actual execution of the arc. because good GOD i love matriarchs but also because polly walker’s face. okay, what i love about this arc and the particular mythos behind it is that the atia of history is a Good Roman Woman; i.e. good women don’t make history, only good woman is a silent woman, etc etc. and atia of rome is not this. atia of rome is so so not a good roman woman - she performs the function of a good roman woman, of course; she puts her family first and she propagates her family’s line, she gives her daughter to pompey on hands and knees at caesar’s bidding, she has done her duty. but is she modest? is she good? does she obey her men? no she does not. but her arc is that the child that is her blood and her ambition but honed to an edge with - really - none of her more human softness, and that child becomes the first man in rome and with that, atia walks into the light at her son’s triumph and watches her lover’s corpse paraded past next to the egyptian queen that his name is going to be linked to for all eternity and - 
    atia of the julii is not a good roman woman. but her son becomes the first man in rome, her son becomes the first citizen and the first among equals and she becomes the mother of the son of a god, and this is how history works; it works retroactively. octavian wins, and so antony is a traitor and cleopatra is a whore. octavian wins, and so octavian becomes augustus and atia of the julii becomes a not just a good roman woman, but THE good roman woman. history reverberating backwards and shaping the way we see these events and what never was in life becomes absolute in myth and holy SHIT THAT SHOT OF ATIA WALKING INTO THE LIGHT.
  3. okay this belongs strictly under ‘good idea but what the fuck is this execution’ - morgana’s s3 arc from merlin. because this is a good idea. this is actually - a brilliant idea. because what the central thesis behind this particular section of her arc is that morgana becomes the tyrant she fought so hard against, morgana becomes the system that has shadowed and haunted her her whole life - this system of oppressive tyranny, this system which originated from one man’s personal grievance. morgana, shaped by fear and lifelong terror, takes this terror and this terror makes her hard, and this terror made her cruel. she becomes - in every sense of the word - uther’s heir. (i mean, arthur becomes uther’s heir as well. both his children become him. but arthur gets the text’s sympathy, which morgana never does.) she uses his tactics, she uses his strategies, she imitates his reign of terror, she becomes the worst version of herself to battle the worst version of the world. this is how a girl becomes a woman becomes a sorceress becomes a system that prioritizes ideals over lives, the law over flesh and blood. and this COULD have been such a good story, but hey this is merlin, so we got what we got.
  4. lucrezia borgia’s s1 arc. the best executed arc of the whole series, honestly? personally, cesare’s arc has more of the aesthetics i enjoy and i’m more invested in that one, but lucrezia’s s1 arc is the one that i felt was the most undiluted, the most lifted-from-history, the arc that most fully captured the nature of lucrezia borgia; the real lucrezia borgia, whore of rome and saint of the borgias. it was an incredibly well realized metamorphosis into womanhood for her, from 'i will not be beaten, djem’ to that sugar sweet smile she gives giovanni sforza while they operate on him, that little open mouthed snarl barely concealed, to her brokering peace for her family with the french king through the act of submission. if they had gone on this vein, then the lucrezia you get by the end of s3 would have warranted that reputation, but… they didn’t. so what you have is this stand out season long arc that did lead into the next but became more and more diluted as it went on. but the idea behind it; the renaissance woman, the coming of age of the girl into the byword for decadence and immorality and murderess.
  5. julius caesar’s season arc from rome. 'only tyrants fear tyrant killers’, or: THIS IS HOW YOU WRITE AN 'IS HE OR ISN’T HE’ FOR TYRANTS. if silas becomes THE tyrant by the end of his season, rome’s caesar by the end of the season…? you don’t know. you still don’t know. which is really, the perpetual argument when it comes to julius caesar, isn’t he? he dictates to the senators and he appoints himself dictator of the republic for life, yet he thrice refused the kingly crown at the lupercal (argument could be made here that augustus initially refused one-man power as well) and when the poor have cried caesar hath wept, blah blah blah. it’s not so much a clear cut arc behind this or any huge progression of character rather that you’re watching a very patient, very calculating apex predator slowly ingratiate himself into the right spot to make the right move. one thing i love about this particular arc is that you get moments where you begin to question his motives; you know he is power hungry and that he’s not afraid to be cruel to get what he wants (re: servilia) but it’s moments where he is sitting down with brutus that you get it, that you get that there’s something larger at works here. there are lightning moments of realization in this arc, but even at the end? you still don’t know if he is a tyrant. 

honorable mentions: cesare borgia (s1), ragnar lothbrok (s1, e1-7), rebekah (tvd, s3-4), katherine pierce, 1492 - when she left mystic falls at the end of s2 lol HAHAH THATS WHERE IT ENDED), sherlock holmes (elementary, s1), and jack benjamin, duh. shut up.

this is a post about how rose benjamin is amazing because

silas is all big blustering words and declarations, political machinations and stories stories stories, and jack is a wildfire of action and guns and eyebrows and bloodthirst, and michelle is a single act of kindness saving an entire city

(what a terrifying fucking family) 

rose benjamin is a surgical scalpel to the throat. rose benjamin is efficiency, and cleanliness, and one small, careful devastation instead of an onslaught of violence. rose benjamin is that first falling domino. rose benjamin is brutal.

because rose benjamin’s most devastating and perfect act of sabotage in this entire season is not organizing the robbery of david’s apartment or having katrina ghent killed or even convincing her daughter to let the father of her unborn child hang, but just the simple act of organizing for the crown to be stolen before jack’s coronation

like WHAT A PERFECT PERFECT IDEA. WHAT A PERFECT SUMMARY OF THE ENTIRE SHOW’S THESIS. WHAT A PERFECT PLAY ON THE NATURE OF KINGSHIP. ROSE BENJAMIN IS TABLE SETTINGS, AND THE COLOUR OF THE FLAG, AND THE WAY THEY ARE ADDRESSED, SILAS’ SUITS AND HIS CUFFLINKS, AND EVERY DETAIL OF UNITY HALL CONSTRUCTED TO A PRECISE STANDARD, AND ROSE BENJAMIN, MORE THAN ANYONE ELSE ON THIS SHOW INCLUDING SILAS, UNDERSTANDS THE NATURE OF PERFORMANCE

so her act of having the crown stolen at PRECISELY the right moment in PRECISELY the right way so that jack is literally a false king is a perfect psychological blow - she honed in on jack’s insecurity and capitalized on that, showing him that he might have his uncle’s guns and his uncle’s men, but still the people in the palace are loyal to her and only to her even on threat of death. she made his inner psychological turmoil - ’you are not the one he wants’ - a physical reality through one simple act and shattered the image of the kingdom that she had built at the exact time it needed to be shattered

so she can build it again with the king that she chooses

so this is a post about rose benjamin

notbecauseofvictories  asked:

okay but you should talk about how jack's feelings about love and his feelings about kingship are tangled together in the most confusing fucked-up ways and how david reflects that GO

one of these days i am going to reach across the interweb and PUNCH YOU IN THE FACE

i’m just I’M JUST

i think a lot of it is related to the fact that we got to see a remarkably small amount of jack’s family life compared to david’s family life, even though most of the series is set at court? like, i am super interested in seeing how jack functioned alongside michelle, knowing that he is only in line for the throne because she’s incapable of bearing a child, and then knowing - because he’s a smart kid! - that his parents’ marriage was for political power and to cement a political alliance, knowing that his uncle probably loves him but sees them first as pawns for advancement, knowing that his parents love each other and his mother loves him and his father loves him but always always always knowing - 

the throne comes first.

and then, growing up; knowing that he has to fight (his sexuality, his father’s enemies, the press) to be a worthy heir, knowing that silas loves the kingdom and silas loves god and maybe after that silas loves his children, knowing that out of the all of them it’s michelle who’s the pure creature of love; not selfish love, either, but love for all things in existence. and so jack wants the throne and jack wants power but jack also wants to be loved and to love in return without shadows or caprice, and then along comes this kid, along comes this kid who’s made out of pure sunshine who upstages him so easily and so sincerely, who’s touched by god and who’s destined to gain his father’s throne

and jack gets it! BECAUSE OH MY GOD david as divine kingship david as the promised monarch so for the first time in his life if jack allows himself to

loving david = loving the king = loving himself

SO WHEN HE PUTS DAVID ON HIS FATHER’S THRONE IT’S LIKE HIS PERFECT AMALGAMATION OF POWER AND LOVE AND SARAH I HATE YOU I HATE YOU

anonymous asked:

i wondered what you thought about michelle benjamin? and her relationship with jack?

I LOVE HER???

like i am a sucker for the madonna trope especially when it’s not played straight and IT’S NOT PLAYED STRAIGHT!! because fuck my fucking god - in the beginning, in the first episode, silas refers to michelle as ‘half his kingdom’ and you find out later that the only reason why she’s out of the line of succession is because she can’t have children - and yet. AND YET. 

arguably the real power in kings lie in the women. i mean, the short term power struggles belong to the men - silas, david, jack, william. but remember: it’s by marrying rose, by fathering these children and making her queen that silas built a kingdom. and its by impregnating michelle that david has a claim to the throne and will build a united gilboah and gath. this could have easily fallen into the women-are-walking-wombs thing, but it didn’t because these women are actively working for the same goals as the men. rose and michelle are oriented towards long term goals - peace, and prosperity, and the deposition of a corrupt king. and by the end of the season, michelle is literally HALF SILAS’ KINGDOM. she is literally the key to the kingdom, and she holds all the power in determining the future of gilboah. the power in the show and the power of the blood is arguably matrilineal, with that gorgeous development of michelle as a future queen in rose’s shadow and FUCK YOU NBC.

jack and michelle i think could have been developed more. at this time, i’m just so fascinated by how they’ve both of them grown up in the dawning of an empire, and seemed to have such a normal sibling relationship despite having silas as a father? and i think that the two of them along with david would have made such a perfect trio for forming a nation - think of the scene that they had. michelle says ‘we used to tell each other everything,’ and jack replies ‘i used to take all your stuff.’ michelle sees things in the best possible angle, and jack remembers all the gritty things others would rather forget. and david sees things as they should be. it’s just - SO PERFECT. WHY NBC WHY.

i actually love small fandoms because there’s not much fic but you can bet that you will find more gems ratio wise than the big fandoms. case in point:

  • and royal blood means nothing without blessing: LOKI. MORGANA. JACK. ARE YOU FUCKING KIDDING ME YOU JUST THREW ALL MY FAVOURITE BASTARD PRINCES INTO ONE. OH LORD.
  • highest aspiration: OH LORD. THOMASINA. ‘she offers loyalty. not even wives, or first-born children, can offer these.’ 'he is coming, like the winds of a hurricane, like the beating of a butterfly’s wings.’ EVERYONE GO HOME. 
4

                        What infinite heart’s ease
must kings neglect, that private men enjoy?
And what have kings, that privates have not too,
save ceremony, save general ceremony? 

anonymous asked:

Re: "Jack is not a good guy" - but what are your thoughts on him betraying Silas (and possibly surrendering his future crown) to defend David's innocence in Javelin? I always thought it was because even /he/ could not stand that level of deceit and corruption. I wish they hadn't done what they did with him in the last two episodes and made him so blindly adherent to Cross because no, he was not a good guy but I always thought that he had potential to be one.

no; of course he had the potential to be a good guy - the thing about this show is that every single one of them is capable of being good AND being bad; for all of william’s bad traits (using war for profit etc etc) he was more than happy to give silas access to his private hospitals to cure the plague. but like can i just point to the one turning point in jack’s characterization that probably very likely informed his behaviour in javelin:

‘words don’t settle debt.’ - 1.7 brotherhood

jack OWES david a debt, jack OWES david his life, jack OWES david the security of gilboah in keeping him alive and thus the succession alive. and no matter that he has his personal ambitions it’s very obvious that jack is IMMENSELY capable - probably too capable - of forming personal loyalties to people and ideas. he cared about the men in the 127th, he cares about his father (which is probably why silas’ rejection hit so hard), he cares about michelle (prepared to sacrifice his own secret and probably all chances at the throne not only out of spite for rose but also for michelle) and he cares about rose, which is why her standing up against him in the finale hit so hard. and at this point he might resent david, he might hate david, he might despise david for saving his life and taking away his martyrdom, but he also realizes that he owes david - to a certain extent - his loyalty and he owes him his life and that debt has to be cancelled out. he recognizes david’s first kill had been for him - 'it changes the colour of your blood; paints your conscience.’ - and that’s a level of obligation you can’t ignore.

and just because i said that he’s not a good guy doesn’t mean that i don’t think he can be a good guy or WANT to be a good guy, ja feel? but sometimes just because you want to be the good guy doesn’t mean you are; and people are more than capable of coming up with extensive mental gymnastics to justify their pre-existing belief that they are the good guy. they are the good guy because they ARE. only in this case for jack you can replace 'good guy’ with protagonist - there’s a clear indication that jack expects this to be HIS story in 1.7: 'you should have left me to die. i would have died a hero, and the country would never know you existed.’ so while i don’t doubt that jack’s pretty much latent conscience gets woken up by the fact that david; even jailed and about to die is willing to do the right thing - by the end of the next episode, jack’s main focus is that he’s negotiated himself into the place he thinks should be his: the protagonist’s role. 'it’s my time to rule, and i want to do it well. i’ll try to do right by your example.' 

it doesn’t mean he doesn’t value david’s morality, it doesn’t mean that he doesn’t want to do good - because he does! he does want to be a good son and a good prince and he wants to be a good king. but good isn’t something that comes easily to him and it’s not something that he feels in his bones. just because he wants to be a good man doesn’t mean he is; just because he values david’s morality doesn’t mean that he isn’t capable of being selfish or being stupid or being cruel - and jack is vicious when you back him into a corner. those last two episodes is him seriously miscalculating the situation, thinking that it’s him who is using william and not the other way around. he becomes the protagonist, and he loses it just as quickly; and he strikes out when he doesnt get the attention he thinks is due him. so no i don’t think it’s out of character; i think he just walks a very fine line in between what he is capable of being and what he actually is - someone who is equally capable of realizing tyranny and someone who is also able to stage a coup with ideological reasons but someone who is also capable of evading responsibility for the deaths that comes out of that coup.

the jack who wants to do right by david’s example and the jack who orders for a man to be shot dead in the boardroom with a single eyebrow raise are not entities which are mutually exclusive.

jlr7245  asked:

top six moments from the television show called kings that stars sebastian stan and ran for exactly one season before being cancelled

i hate you so much how dare you don’t look at me

(also like wHAT DO YOU MEAN BY TOP SIX, DO YOU MEAN TOP SIX OF SCENES THAT HURT THE MOST OR THRILLS THE MOST OR JUST PLAIN ‘WOW TAT IS SOME FUCKING GOOD WRITING FUCK YOU NBC’)

but we go on

  • ‘we give up what we want when we want power.’ - god i am not over this scene, i really am not because that scene grabbed me by the throat and DID NOT LET GO. i’m not going to talk about how terrifying and GRAVELLY ian mcshane is or how quickly sebstan goes from snarling to pathetic and the last shot of him alone and small and pathetic my HEART
  • totally underrated moment - forget the butterfly crown, best david moments in the pilot is 1) where reverend samuels looks up at him and sees the dust smeared across his forehead (!!!!!! this show!!!!!) and then we get that shot of his profile silhouetted against the setting sun and MY HEART MY HEART 2) and god, the butterfly landing on the barrel of his rifle for FUCKS SAKES NBC
  • 'they came to see us. we are the performance.’ OH MY BEAUTIFUL QUEEN ROSE BENJAMIN BITCHES LAY DOWN FUCK FUCK THIS LADY THE ARCHITECT OF A KING KINGDOM AND IDEOLOGY. can i just mark down rose benjamin for EVERYTHING I LOVE AND WANT TO BE
  • similarly: ‘when the dust settles, and memory fades, you’ll be thought of as a woman. sexual, desirable, formidable. and you’ll wield that power in ways young girls cannot.’ basically embodies everything i love this show for - in a story that is about ALL THE MALE DUDES FIGHTING FOR MALE JUSTIFICATIONS AND MALE SYMBOLS OF POWER, we get this beautiful quiet story of female power pulling the strings behind all the loud trumpeting, presenting the female mode of power not as being lesser or subservient but INFORMING and COMPLEMENTARY and downright CRITICAL to the final power struggle - the fact that rose betrays her son and hands the crown to silas, oh my god, no less a kingmaker than her brother be still my beating heart
  • the scene where jack walks up the steps to his coronation, closes his eyes and hears the jubilant crowds screaming his name, and then opens his eyes again, and turns around to absolute silence. when i first saw that i bit down on my mouth real hard and couldn’t speak so like it hit me real hard kay
  • 'how do you kill a man of god?’ 'with a bullet’. - NUFF SAID

anonymous asked:

What kind of direction would you have liked to have seen Kings go in in regards to plots and character development, especially how Jack would have progressed from being locked up etc? (I wouldn't be surprised if you've answered this before, so feel free to link me if you have).

i have actually expounded at length before about how i wanted it to go down but i can’t seem to find the ask? SO LET ME EXPOUND AGAIN.

  • the writers left the ending beautifully open for the most vicious phoenix narrative i can imagine, there. where david literally flees into the wild and the uncharted - presumably to raise an army and come back to retake the state forcibly from silas’ corruption. and the fact that the season ends on david’s COMPLETE AND UTTER DISILLUSION ABOUT KINGSHIP AND SILAS AND SILAS’ KINGSHIP. oh this would have been TERRIFYING. 
  • and of course - ‘we can be young again.’ the old rule over a corruptible state, and the young are locked up in dungeons to ensure the continuation of that same stagnation. michelle and jack actually parallel gorgeously here - that jack is being used a tool to continue silas’ tyranny while michelle, of her own free will secrets herself away to raise the heir of a unified gath and gilboah.
  • ideally i would have a story about lucy griffiths and jack slowly but surely learning to respect each other and be friends, both of them deprived of a future and locked up here together. lucy will be disillusioned about her love - which is more of an infatuation that is literally already being proven futile - but in the midst of it, i want her to reflect on what rose had told her: that she isn’t marrying jack but this nation. THEREFORE!!! DUAL QUEENSHIP NARRATIVES! actually triple queenship narratives including michelle, lucy and rose. for all of them, for different reasons, their greatest weapon is the tool that the state had allowed to them - motherhood. all three of them are brewing a revolution through their children, and GAH. the climax of that would be fucking amazing.
  • and then! jack and lucy, having come to an understanding, escape with the help of reverend samuel’s ghost or shade or whatever, and then i get my goddamned messiah/machiavel narrative where jack goes into the wilds to find david and pledges his allegiance and pledges his line, realizing at last that sometimes it is better to be kingmaker than to be king.
  • four season long revolution and consolidation of this kingdom and this monarchy, yo. i will also be okay if jack dies at the end.

okayophelia  asked:

TELL ME ALL YOUR KINGS FEELINGS ALL OF THEM

I’M ONLY HALF WAY THROUGH AND I DON’T KNOW SAUL/DAVID BESIDE A CURSORY SCAN OF WIKIPEDIA WAY BACK IN OCTOBER WHEN I FIRST DECIDED TO WATCH BUT LOL LOL OKAY

  • SEBASTIAN MOTHERFUCKING STAN. WOW. THIS KID. THIS. KID. can we just talk about how fucking FLAWLESS all his choices in this show is? can we? CAN WE. because they are motherfucking flawless. i don’t know how he does this so well but this kid is a firecracker, it’s visceral. even when he’s perfectly in control, even when he’s the king of the nightclub and when he’s the king of the hallway (oh my god christine everhardt NO ONE SAID CHRISTINE EVERHARDT WAS HERE) and when he’s playing the people around him like a motherfucking violin, there’s so much volatility beneath the surface and he never seems fully in control even when he’s in control. and when he explodes, (‘i’m fighting for my right to exist.’ cue soundless gasp) when he throws his boyfriend out of the club when he stalks through the club the way his father stalks through parliament and gathers his men like a fucking military commander, you wonder if he’s ever ever ever been in control.
  • THIS KID AND HIS CHOICES. I AM 10000% DONE.
  • also HEY hal comparison. hal comparisons everywhere i don’t even care.
  • QUEEN ROSE. QUEEEN ROSE. YOU DID NOT WARN ME I HOLD YOU ONE HUNDRED PERCENT ACCOUNTABLE YOU ASSHOLE. ‘this is why i designed this kingdom this way, from the colour of the flag down to the china. to give them something larger than life to aspire to… you think they came to see the ballet? they came to see us. we are the performance.’ SEE I KNOW THAT OFF BY HEART. BECAUSE I AM FUCKING DONE WITH HOW IT’S MONEY AND ATTENTION TO DETAIL THAT HOLDS THIS KINGDOM TOGETHER HEADED AND OVERLOOKED BY THE BLUNT RUTHLESS FORCE OF SILAS. I AM DONE.
  • fucking michelle man. her naivete is just glorious in comparison to the rest of the family: healthcare, the six year old who needs a new heart. she’s learning bit by bit and it’s not fast enough but she’ll get there, and when she does, oh lord jack better look out.
  • meh about david.
  • BUT WOW FUCK YOU FUCK ALL OF YOU
  • THIS SHOW
  • D O N E

sophiefitzos  asked:

top 5 kings characters

  • jack benjamin - god. A L W A Y S. this show is great because you immediately Get everyone and everyone makes sense but no one - to me at least - LEAPT OUT OF THE SCREEN AND HIT ME IN THE FACE THE WAY JACK BENJAMIN DID. paintball gun with military precision. that did it.
  • rose benjamin - OH MY GOD. ‘you may have the will but i maximize your effect.’ I’M. JUST. J U S T. rose benjamin architect of a kingdom and an ideology to match it. queen mother in the best possible way.
  • katrina ghent - forever bitter at what she could have been; forever kind of impressed by how seamlessly they transitioned her out.
  • vesper abbadon - genie in the bottle; deal with the devil. also eternal fondness for brian cox.
  • DAVID/SILAS at a tie. as much as i love the first moment you see david - ASH ON HIS FOREHEAD - the way ian mcshane hisses his lines delight me to no end.
archiveofourown.org
fic: how well you walk through the fire; jack benjamin

Once you start gambling with your life, everyone will know you’ve got a bad hand. - Jack Benjamin, 2.0.