I woke up feeling sick this morning.
I've been fighting a cold for a few days, so I knew the second I had a day off it'd hit me like a truck, but it still sucks.
I wish my butch were here, to let me lie down with my head in her lap while she does something on her laptop, to laugh when I refuse to let her kiss me because I don't want her getting sick, to oblige a few hours later when I whine about wanting a kiss.
When I apologize about being needy and needing to be taken care of, she always plays with my hair the way I like and tells me she's just returning the favor. That I take care of her all the time, and I think that's what I miss most right now.
I just want my butch to take care of me.
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Welcome to the Elliot Carver as Elektra King's weird uncle figure agenda by yours truly, Rouge/Elliot!
The concept for these two has been in my head for quite some time now and I've just gathered the motivation to write this. I would not consider this to be a proper analysis, but rather a long ramble written in one night. (Roughly 900 words?) Now, let's get right to it!
Introduction
The Brosnan era of films introduced a notable set of villains to act as adversaries for James Bond. Particularly, Elliot Carver from Tomorrow Never Dies and Elektra King from The World is not Enough hold a myriad of similarities that would make them ideal for a relatively affable relationship. Moreover, these similarities also emphasize narrative aspects within Brosnan era such as the malignancy behind given positions of power that are left hidden from the eyes of others.
Parallels
Charming the Media
They are masters of the masquerade, feigning innocence for the world with their charisma. With deception, they draw attention to themselves but as a strategic tactic to mask their thorns. Elektra knows her ability to charm others well as a femme fatale character, using it to manipulate others in order to have the world at her hands. Likewise, Elliot appeals to the media by acting like a benevolent figure that seeks to unravel the truths of the world as a facade for the underlying malignancy of his networks.
Though Elektra's charm is more oriented towards seduction and Elliot's charm more oriented towards the usage of a media personality, they both use charm to achieve power over others. It is a subtle yet effective means of control that nobody else notices. Before people know it, they will already have the upper-hand.
Mirroring Blofeld
In some ways, the both of them mirror Bond's nemesis Ernst Stavro Blofeld. The similarities are more intentional with Elektra. A notable phrase from Barbara Broccoli herself is that she notes: "With Elektra, Bond thinks he has found Tracy, but he's really found Blofeld." She is a person that manipulates others under the guise of someone contrary to who she really is. Here is an article from License to Queer by Sam Rogers that details the connections between On Her Majesty's Secret Service and The World is not Enough far better than I could: (Click here!)
Regarding Elliot Carver, there are prominent similarities with Blofeld such as his intolerance for failure and desire for control with his influence. Aesthetically, he adorns the similar attire to Blofeld as well to allude to a similar position of power. Moreover, the connection with Blofeld demonstrates how he serves to be a formidable foe in terms of his influence with his media empire.
By acting as foils to Blofeld, both characters showcase a special form of cruelty the espionage world holds for Bond. They epitomize a malevolent longing for control and the influence they hold beneath exterior appearances.
Familial Distance and Disdain
With both of their father figures, these two have a certain degree of disdain towards them. Though a trait exclusive to the novelization of Elliot's film, he was abandoned by his biological father and sought to confront his father to create the legacy he thought he deserved. Made more explicit with Elektra, she holds a disdain for her father due to how he handled her kidnapping. The both of them resorted to violent means that resulted in both of their fathers death.
However, there presents the additional layer of how her culture is being impacted by her father's operations. Though Elektra is a character who should not be taken at face-value, the lines "The new pipeline will guarantee our future, but it would be a crime to destroy what little is left of our past" and "His kingdom he stole from my mother, the kingdom I will rightly take back" cue into the importance of her mother's heritage and preserving it. Thus, this introduces the potential that Elektra would hold some distance from her father on this factor even without the kidnapping.
In a way, they are both people that will take back that should have been theirs. They will maintain their legacies for the world regardless of what it takes.
Application of Similarities
Considering these similarities, they are able to understand each other better than anybody else would. The two of them understand the power they hold over others, but also understand why they want said power in the first place. They would know the truth lurking beneath the lies they tell. They would be able to create a form of family to take the place of where there is none in a way. In terms of a business relationship, they could mutually benefit from it. With the power of the media on Elliot's end, he would be able to spread Elektra's influence along with his own.
(Breaking the formalities to say that I believe in Elliot Carver being the "cool uncle" archetype for Elektra King in which the latter has outrageous stories to tell and maybe end up roping Elektra into. They essentially get to "live a little" in a way, especially in Elektra's case. What's the point of living if you don't feel alive?)
Though not a necessity for constructing potential interactions, the fact that they share a Bond era allows events to be placed chronologically in a tidy fashion. As King Industries and the King family hold some recognition in the media, it would be highly likely that the Carver Media Group Network has personally reported on the firm. Prior to the events of Tomorrow Never Dies, it is plausible that the two were at least familiar with each other even if they didn't actually interact.
Conclusion
Thank you for attending a ramble of mine and I would very much appreciate further discussion! I wish that this was longer, but it is past 3 AM here as I type this and I barely have enough energy to continue any further. (Apologies if anything sounded off due to being sleep-deprived) Additionally, I cannot think of much else to say so I will end things here.
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Just finished watching Buffy (I used to catch it after school but didn't pay full attention) and I loved it. It's faulty but I love it. Here I am missing it already, and with the need to talk about a couple of thoughts I want out of my head.
I love Spike.
The character, the aesthethic, the movements, the music taste, what drives him, his empathy and emotional intelligence.
I hate convenience writing.
I hate the infamous bathroom scene. Because it's violent of course, pretty sure unnecessary, and completely out of characters (yes, multiple characters). No spoilers or details ahead, but if you know you know.
Xander was written to make something like that but it was the nineties so the Nice Guy was still considered a sympathethic character. The antagonists are written and do that and somehow portrayed in a less graphic way. Soulless Angel probably did it and they kind of show in some flashbacks behaviours. Buffy could have done it considering the whole season emotional progression. Spike just doesn't make sense.
A scene written to go from point A to point B without a road in the middle. This is not the only instance when it happens (another one in season 7 is pretty blatantly obvious) but I wanted to focus on this one and since I'm not a stickler for canon I'm just rewriting the story in my head in a way that actually makes sense.
End of blurt, let's go print a Spike poster and focus on my next fixation.
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