#Riddle of the sphinx
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NO OEDIPUS WATCH OUT !! YOURE NOT AN ORPHAN AND YOU SHOULDNT MARRY THAT WOMAN OHHH MY GOD HE HAS AIRPODS IN HE CANT HEAR ME OHH MY GOD WATCH OUT OEDIPUS !!!!
#oedipus#the mechanisms#the mechs#the mechanisms udad#ulysses dies at dawn#udad#oedipus udad#riddle of the sphinx#riddle of the sphinx udad#aiiidoneus
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Mood
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#inside no 9#inside number 9#reece shearsmith#steve pemberton#wise owl#riddle of the sphinx#tom and gerri#once removed
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Can you talk more about the dinner scene and the tags you have in that post?
Hell yes I can! I love that scene so much. (post in question: https://at.tumblr.com/chaotictarlos/704992524491800576/9pael9up6i14) I do have to apologize in advance because I'm about to ramble a lot and probably say a lot that you don't care about but I have a lot of thoughts about this episode.
So I firmly believe this episode and scene are vital in Tarlos' growth as a couple. It was a needed scene and even more of a needed moment between them.
TK comes in, right, and he's all like "hi baby" and answers Carlos' question about how the meeting was and while we as viewers can see that there is definitely something off about Carlos, TK doesn't see it yet. Not until he goes to kiss Carlos on the cheek and Carlos doesn't react and when TK says that what he's made smells amazing, Carlos says it's just chicken.
But it's the way he says it. I don't know about you but I've used that tone. It's my "I'm upset right now and I want you to ask but I also don't want to talk to you because I'm upset at you" kind of tone. It's the type of tone that, imo, a person uses when they're fed up and just done with a situation.
It's this moment that TK realizes, oh something is wrong. Here's a cute little gif just because. You can see TK realizing that Carlos is not okay. Like he barely says a word to TK and doesn't offer him food and we all know that acts of service is part of Carlos' love language. He's always feeding TK and his friends. It's what he does.
And TK is like, okay, need to figure out what's going on here.
I really love this moment, TK leaning against the doorframe and you can see him thinking things through and giving Carlos the space to talk first, to bring up what's bothering him so that TK can do something to fix it.
(side note for a moment for how from the time he sits down to the end of this scene Carlos' looks so small. He's not a small guy but here we see himself physically shrink into himself, making himself smaller and try not to take up so much space. It's like he's hoping that if he takes up less space than he can be what TK needs him to be, what he wants TK to need him to be.)
And then Carlos, our passive-aggressive king, goes "oh should I'm sorry, should I have been cooking for two? I figured by the time it was 8 o'clock you and Coop stooped for omelets."
And there it is, the one thing TK needed to make the situation click.
Carlos is holding onto a lot. We know that he's an anxious person, and as a fellow anxious person, I feel for him so much in this scene. We don't get to see Carlos' anxiety a lot. He's internalized everything about the situation with TK and has tried so hard to find ways to help because that's what he does. That's what I would do. He sees a situation, he sees the love of his life hurting and having to navigate being back to square one and having to regain his years of sobriety and Carlos so badly wants to help.
That's why he stays up and reads articles and tries to find solutions. It what he does. He takes care of people he loves. And in this case he can't do anything and it kills him.
It makes him feel so utterly hopeless. And I'm saying that as someone who has been in situations where all I've wanted to do is help those I care about and I couldn't. I felt useless.
And right now, Carlos feels useless but he doesn't know how to say that.
So it manifests in passive-aggressive ways, such as not making TK dinner.
And even though he's being passive-aggressive, he's still so willing to make TK something if TK says that he hasn't ate. Because at least it would mean that TK needed him for something.
And just, the way TK gives him space, gives him a chance to bring up what's wrong because they both know something is wrong just really gets to me. He doesn't push right away, allows Carlos the room to bring it up himself if he needs to.
And when he doesn't, TK asks him.
And Carlos does what I always do, what everyone always does:
"Is something wrong?"
"No"
Because of course, he's not going to outright admit to something being wrong. That would be too logical.
And then slipping in that he knows that TK called Cooper at three am and that is one of the roots of Carlos' problem and why he's upset. In TK needing someone, instead of rolling over and waking Carlos up, he reached out to someone else.
And Carlos can't understand why he did that. Because for Carlos, he would turn to TK if he needed someone in the middle of the night. It makes sense to Carlos to reach for TK, because they're partners so he can't wrap his mind around why.
And the way this entire scene is handled and how TK handles it, just shows so much growth, imo.
And then TK does this little nod, because now he's caught up and he knows somewhat what's going on. I also need to point out that, faced with this confrontation he doesn't run, he doesn't try to deflect but stays and talks to Carlos.
I like how TK asks if Carlos is mad at him for calling his sponsor because he's trying to narrow things down. And of course, Carlos isn't mad at him for that, he never would be mad at TK for calling his sponsor when he needs to. What Carlos is upset about is that he wasn't TK's first choice. And he can't understand that.
It seems so simple, even though it's not.
And Carlos is sitting there, fighting with his anxiety, fighting with his doubts, fighting these internal battles that he hasn't let TK in on because he doesn't want to burden TK with them. (of course, I could be projecting my own anxiety struggles with this but it fits)
The line that gets me every single time in this scene is "just trying to figure out what my place is"
Because he doesn't know. His love language is acts of service and he's being denied being able to do that - not intentionally, of course - so he doesn't know what to do. He doesn't know where he fits into TK's life in this moment. If he can't help TK than what's his point? What role is he supposed to play?
And god damn, I feel that so fucking much. I feel for Carlos. I feel the insecurity he feels here. I feel the anxiety. The hurt that he feels. They're all such valid feelings too! Like he's valid for where he's at and what he's feeling. He's human. He's allowed to be upset. He's in a situation that he has no experience with and it's upsetting.
The love of his life was just forced to overdose, to break his sobriety and Carlos so badly wants to fix it but he can't and he's not sure what he can do. He hasn't been told his place in this. He just wants to help and he can't and he feels useless.
"just trying to figure out what my place is" is a plea for TK to tell him what he needs. It's Carlos, being vulnerable, asking TK what he wants from him.
And when TK tells Carlos he wasn't the one he needed to talk to, Carlos takes that personally because he doesn't understand. He thinks it's because he's not enough for TK. That he can't provide for him all the ways that Carlos thinks he's supposed to.
We romanticize this notion that our significant others are supposed to be the be-all, end-all for us. We're supposed to turn to them for everything. We're supposed to help them through their darkest times and have them help us through ours. It's beaten into our brains from the time that we are kids that our SO's are the perfect other half, that "you don't need anyone else other than your partner" and that couldn't be more wrong. Our support system can not and should not begin and end with our significant others.
And knowing that Carlos' parents are traditional, he probably learned that too.
When TK says that, it's like conformation to Carlos that TK doesn't need him and that's not what TK is saying at all.
And then, we have TK telling Carlos that Cooper's straight and I've seen people give shit about that line but I think it's valid.
TK's been cheated on and you bet your ass that's now a fear of his and with Carlos being so upset that TK is reaching out to another man in the middle of the night, spending time with him - and while he has valid reasons and he's not sneaking around or trying to do anything - TK can see that it might not look that way and even though Carlos hasn't said he's worried that TK is cheating, TK wants to reassure him that he's not.
And I think that's very valid of TK. He recognizes it before it's even an issue because it shouldn't be an issue and he wants Carlos to know that he doesn't have to worry about TK getting feelings for his sponsor.
And I think it's also a subtle way of TK telling Carlos "you're not being replaced."
Also this:
"I don't think you're cheating with the guy TK."
"Not physically."
Because we've all heard of emotional cheating. I know this part isn't a favorite of people's and I've seen a lot of people have problems with it but it was needed. They needed to have this bit of a conversation for both their sakes. Carlos needed that reassurance even if he acts like he didn't. I don't think at any point Carlos thought TK was cheating, but it's still a thought that sometimes crosses the minds of even the most logical individuals.
"It feels like he's getting getting pieces of you that I don't."
"You don't want those pieces."
"I do. I want all of it."
"You have all of me, Carlos."
I keep saying it, I know, but this exchange, it's just so much. Carlos feels so much and it's so fucking beautiful. TK knows what he needs, he knows that those darker pieces of himself aren't pretty, they aren't good and they aren't easy to deal with and he doesn't want to burden Carlos with them. They're hard pieces.
But he's trying to tell Carlos that he gets the pieces that matter. He doesn't have to have the dark parts, the parts that ache for a fix, the parts that make him shake and itch for another high. Carlos doesn't have to have those parts because they'll just worry him. TK does give Carlos all of him, and him not getting the pieces where TK is desperate for a fix isn't bad.
Because TK isn't treating Carlos like his sponsor or therapist. That's not Carlos role in his life. Carlos isn't his sponsor and he isn't his therapist. TK has people who fill that role.
And then, the heartbreaking line of Carlos saying "I'm not enough, you mean."
In this one case, he's not and I love that TK affirms that and then explains why. He's not saying that Carlos isn't enough for him to be mean or to hurt Carlos, he's saying it to try and get Carlos to understand that sometimes TK needs people that has been in that situation. That knows what it's like to be high, to be addicted to drugs, to spend their time trying to find the next fix.
It's not bad that Carlos can't fit that role.
And, I don't know, they just do it so beautifully here. TK gets riled up, he gets a little emotional and his voice isn't perfectly calm but he's also upset but not trying to show it. It's here that he, imo, tries to get Carlos to see that this entire situation isn't about Carlos.
TK's addiction isn't about Carlos. It's not something that Carlos can fix and TK needs Carlos to understand that and I think the way TK explains it here is so right on. It's kind, but firm. It's an explanation that does tell Carlos that no, he's not enough but that's okay because TK has people to help him with that.
TK has people that help him get home because he wants to come home to Carlos.
"And if that means sometimes I'm late getting home just know it's only so I will get home, Carlos"
That line will always be a favorite of mine. I think it sums it all up so perfectly. He's doing it all - calling his sponsor, staying out late at meetings, taking extra time with Cooper - so that he will make it home to Carlos, the one he loves and wants to spend his life with.
TK can't and doesn't want to burden Carlos with all of that dark because he knows how impactful it can be on a relationship. It's not Carlos' job to shoulder that burden and he shouldn't have to. He might think he has to, but he doesn't, and TK knows that.
That line just sums it up so well, and even though Carlos doesn't respond, it's obvious that he gets it. He gets it even more when he comes home and TK is there, hurting and shutting down, and Carlos' experiences first hand that TK needs more.
Coming back to my original line, I know I've said a lot and if you've read this far thank you, but this was vital to their relationship. It showed growth in both characters. It showed TK not running, but sitting down and having a needed discussion. It showed Carlos being vulnerable, letting TK in, letting his walls down.
It's truly a beautiful scene that I think says so much about their relationship.
It speaks a lot about where they were and where they're at. It's amazing.
This touch, this kiss, the way TK smooths his hand down the back of Carlos' head was such a simple, subtle way to say "It's okay, we're okay, I love you and it's going to be okay."
I really wish we had see the conversation they have after this - because I fully believe they have one and maybe I'll write it - because I don't think they're ones to go to bed upset or angry.
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I like Tim’s singing 💚
#thats all#im listening to riddle of the sphinx now which seems to be the most hum-y he gets in mechs stuff at least#the mechanisms#udad#riddle of the sphinx#i like that hum-y singing raph does it real good
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Sliding into nice ask week at the last moment! Which LS episode is YOUR episode, the one you feel like you understand or relate to better than anyone?
Ooh, Andie, this is a great question, though I would hesitate to say there’s an episode that I understand or relate to better than anyone. Everyone relates to things in their own way and has their own connections.
What I will say is an episode that felt very personal to me and that I identify with greatly, and will defend to my last breath is 3x13 Riddle of the Sphinx.
I feel very strongly, as a grown adult who struggles with mental health married to another adult who struggles with mental health, that it needs to be explored on screen in a realistic way. 3x13 Riddle of the Sphinx explores both TK’s struggle with addiction and the supports he needs outside of his relationship, and Carlos anxiety and need to support the people he loves (sometimes to the detriment of himself).
I am eternally disappointed Olivia Coleman cannot be in the third season of Heartstopper because I was dying to hear her say my favorite line from the comic which is “Love cannot cure mental illness.”
Carlos cannot solve TK’s addiction, because that’s not his job. And as a person who is a helper and a people pleaser and likes to have control and feel secure, that’s a lesson Carlos has to learn. As a similar person, I also have had to learn this lesson, as has my spouse with me. I don’t think many shows have really looked at honestly how the mental health of partners in a relationship can bump up against each other and then be resolved in a healthy manner.
I also feel very protective of the fact that both of them make mistakes, but work through them. It means everything to me.
#911 lone star#tk strand#carlos reyes#tarlos#doublel27 talks#911 lone star 3x13#riddle of the Sphinx#nice ask week
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Name Request
As some of you who have followed me for a while may remember, I lost my dad over 3 years ago. While I was able to get through the incident, it nevertheless inspired me to concoct a Trio of Mythical Fakemon, and after 3 years I’ve finally had them illustrated by Nyula on Twitter. Now comes the crux of this post: I am here to ask for submissions of potential names for these guys. Apart from the usual parameters for Pokemon names I only ask that all three names begin with the letter “A”. To help with the process, below is a list of key inspirations. (Also all three are Normal/Ghost.)
The Three Hares
The Riddles of the Sphinx (yes there is a second one)
Alchemy
The Philosopher’s Stone
The Three Primes/Essentials
The Tale of the Three Brothers
The Myth of the Moon Rabbit
Harvey (1950)
“In this world, you must be oh-so smart or oh-so pleasant. Now for years I was smart; I recommend pleasant.”
Turn the World Around by Harry Belafonte
I ask that submissions are made to this blog as text posts with the headline Hare Trio Names. Be sure to include the names in order of the images in this post as well as a detailed explanation of each. If there are any further questions, please submit them as Asks with the headline Hare Trio Question.
#name request#fakemon#pokemon#fake pokemon#mythical pokemon#roaming pokemon#normal-type pokemon#ghost-type pokemon#hare#three hares#jackrabbit#jackalope#alchemy#philosopher's stone#riddle of the sphinx#harvey#myth of the moon rabbit#turn the world around#tale of the three brothers
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Tab for Riddle of the sphinx <3
#the mechs#the mechanisms#oedipusudad#udad#the mechanisms udad#ulysses dies at dawn#riddle of the sphinx
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quick stupid little riddle of the sphinx doodle cause i saw this image and IMMEDIATELY thought of jacob tyler lmaoo
#inside no 9#reece shearsmith#muppet’s creations#its so dumb but i love it akfjskfjs#riddle of the sphinx
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Thinking about the look on Carlos’s face in 3x13 when TK says “ I would give anything to feel like that again.” He knows TK is super serious about his sobriety and it’s out of character for him to skip a meeting and now that comment? He looks scared. This is the moment he realizes how much TK is struggling and how I’ll equipped he is to handle it. And it’s also the moment he realizes he needs to get TK the help TK needs/deserves, not the help Carlos wants him to have.
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Artwork by Adrienne Rozzi for Fiddler’s Green Zine and Three Hands Press
Photo © Poison Apple Printshop
#poison apple printshop#poisonappleprintshop#riddle of the sphinx#fiddler's green zine#three hands press#witchcraft#artist#witch#bookmark#antiques#poppet
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Riddles of the Sphinx
There are a few things in BBC Dracula that I just can’t seem to let go of, and this is one. I’ve tried to write this meta a few times, and never found a particularly satisfying “solution” to it, but I think now it’s time to present it.
In the final episode of BBC Dracula (The Dark Compass), Mark Gatiss plays “Frank”, a modern-day version of Bram Stoker’s Renfield, who eats insects and is enthralled to Count Dracula. The extent to which Frank’s mind has been overtaken by Dracula is demonstrated by his... unique... solution to a cryptic crossword. Like Jonathan Harker’s journal in the first episode (The Rules of the Beast), Frank thinks he is writing rational, intelligible text in his crossword, but it all comes out in Dracula, with a single phrase spilling out over the grid.
“Dracula will be served” | “Dracula is my Lord”
Spoilers under the cut for the Inside No.9 episode The Riddle of the Sphinx, which is among the best episodes of that series (though should probably come with a few trigger warnings); if you’ve been planning to watch it, please do so before reading further.
The crossword Mark is solving in The Dark Compass was set by someone named “Sphinx”, and this is why I find it interesting. Sphinx is a pseudonym for Mark’s longtime League of Gentlemen collaborator Steve Pemberton. This isn’t the first crossword that Pemberton has written; in fact, his first (co-written with cryptic expert Alan Connor) was the central theme of an episode of Inside No.9, which is co-written by and co-stars Pemberton and another League of Gentlemen alum, Reece Shearsmith. For those who are unfamiliar, Inside No.9 is an anthology series, with half-hour episodes that are usually a mixture of horror and comedy.
The Riddle of the Sphinx is about a Cambridge professor who writes cryptic crosswords for the student newspaper; one night, a young woman breaks into his rooms, demanding that he teach her how to solve his puzzles. Together, they work their way through his latest creation, which was quietly published in the real-life Guardian newspaper on the day the episode aired in February 2017.
In the first scene of the episode, Sphinx brandishes a weapon at the intruder, a prop gun from a student performance of Anton Chekhov’s The Seagull. The gun is then safely stowed away until the end of the episode, when we’re told explicitly that Chekhov’s gun cannot simply remain in the drawer:
TYLER: Never show a gun in Act One if you’re not going to fire it in Act Five.
I do hate to have a joke explained, but never fear, they gave us an unexplained joke, too. The intruder goes by the name Nina. When we meet her, Nina appears not to understand the workings of the cryptic crossword, but soon we learn that she’s actually an expert. Not enough of an expert, however, to have noticed a hidden clue in the crossword that could have saved her life.
I S W A P P E D C U P S
The unexplained joke is that in a cryptic crossword, a hidden clue of this sort is called a “Nina”.
Sphinx takes his own pseudonym from the same mythic figure that gives the sphinx cat (like Sekhmet, who was blamed for murder in Sherlock’s The Great Game) its name. The riddle of the sphinx is well known to everyone: What walks on four legs in the morning, two legs in the afternoon, and three legs in the evening? The three stages of the riddle describe the ageing process, such that the answer is “a man”. According to the myth, the sphinx asphyxiated and consumed anyone who could not answer the riddle correctly; when finally the riddle was answered by Oedipus, the sphinx destroyed itself. Most of these beats are also hit in this Inside No.9 episode.
So, as you can see, The Riddle of the Sphinx is all rather meta; as his first lesson for Nina, Sphinx creates a hypothetical 7-word clue that is meant to be solved as “ARCHITECTURE”...
... but which is actually a half decent summary of the night’s events. This, in itself, is fitting, because a cryptic crossword clue is typically composed of two parts: the definition of the word, plus a bit of wordplay to help you solve it. Ordinary crosswords trade in relatively straightforward definitions; the cryptic crossword requires creativity, it requires looking at the clues from different angles, and I would say it also requires a sense of humour.
So, to hammer that metaphor home: Nina is asking Sphinx to teach her how to read his subtext, so that she can win the game.
Steve Pemberton has published a few other cryptic crosswords as Sphinx since The Riddle of the Sphinx aired, one in January 2018, when the subsequent series of Inside No.9 aired, and one in August 2020, which was solved on the YT series Cracking the Cryptic, if you’d like to see how an expert tackled it.
Like the crossword in The Riddle of the Sphinx, the Dracula crossword was also published in the Guardian on the day that The Dark Compass aired, in January 2020. And while the solution Mark’s character “Frank” offers is Dracula-focused but, well, insane, the actual solution to the crossword is a bloody, vampiric thing in its own right, as shown in these highlighted examples in the solved crossword below.
You may notice that I’m trying to be conservative here; I might also have included “DOOM”, “NOVEL”, “PSYCHIATRIST”, and perhaps a few others (”IBEX” is particularly tempting, for its devil horns) as Dracula-related. There are also a few treats among the clues, including:
20A Mountain dweller to be found in 9 (4)
...which has a clue “inside no. 9″ (9 = IX, and “BE” is found within it), such that there’s an Inside No.9 reference in each episode of Dracula, which is pleasing.
So, when I first heard that the Dracula crossword was set by Sphinx, what I wanted from it was a Nina... the potentially life-saving clue, hidden in plain sight. I haven’t been able to find one in it; in fact, I don’t think any of Sphinx’s cryptic crosswords since the original have included Ninas, which strikes me as odd, given their prominence in Riddle of the Sphinx (in the end, there were two in that crossword alone) and the value of hidden clues in Moffat and Gatiss’s work.
And for that reason, I might not have written up this meta if it weren’t for @victorianpining‘s reading of BBC Dracula, which casts Dracula as a stand-in for the writers. In this adaptation of Dracula, we are told repeatedly: blood is lives, and more specifically, blood is stories. Agatha tells Jonathan this as she holds his indecipherable manuscript in her hands: “Perhaps stories flow in our veins, if you know how to read them”. In the novel, Jonathan, as a diarist enthralled to Dracula, is a self-insert for Bram Stoker, just as John Watson the chronicler was a self-insert for Arthur Conan Doyle, writing stories in both text and subtext. In BBC Dracula, Moffat and Gatiss appear to have boldly claimed Dracula himself as their self-insert. And look how well this works... in their universe, blood is stories, and their thirst is insatiable. Stories grant them immortality, but what keeps them young is the game. It’s being understood by a present-day audience. It’s Jonathan. It’s Lucy. It’s us. It may be intellectually satisfying to sit in one’s room setting puzzles, but if no one else can understand them, what’s that worth? Sphinx persuades Nina to keep playing after she threatens to leave, for exactly this reason. Genius needs an audience. Artists always wish to be understood.
I briefly mentioned a third character in Riddle of the Sphinx above (he’s also the ‘mystery guest’, 12 Across, in that crossword). As he says to his host,
TYLER: I always hated cryptic crosswords. Why can’t people say what they mean, rather than trying to trick you all the time?
And from 2017, that’s a familiar sentiment. In Riddle of the Sphinx, both Nina and Sphinx have a go at murdering each other—through the game—but they would both have survived if it weren’t for the interference of this outsider, who insists that the prop gun be used for real. Tyler ends the game, and cuts short Sphinx’s immortality, ensuring that he fulfills his namesake’s destiny by destroying himself.
So, even without the pleasure of finding a Nina, the Dracula crossword resonates with these themes, on a micro-scale. We watch Mark, pen in hand, playing a game that requires decoding encrypted clues; the solution he shows us (repeatedly, “Dracula is my lord”) is nonsense, and suggests that he is self-obsessed (a writer of Dracula obsessed with his own self-insert). But if we reject that surface solution, and figure out the cipher for ourselves—if we act as the Nina here—we find blood. We find stories.
Among these crossword clues, the one we hear Mark read aloud as he sits waiting for Dracula in The Dark Compass is the same one he tweeted along with the Guardian story:
A Mark Gatiss character wields a pen while playing a game. #justmofftissthings
The clue for 12 Across is easily recognized as not being about Dracula at all, but a different Victorian story, Frankenstein. This solution is a little too on the nose for even an “&Lit” clue (cryptic-speak for a relatively literal clue). And maybe Mark quoted it in his tweet because an easy clue makes for a better hook for the show. Or maybe he quoted it because he’s a fan of Victorian horror generally. But as someone used to seeing double meanings in both cryptic clues and literary subtext, I can’t help but be reminded of another unscrupulous doctor, who might also be described as a “tanner”. This ‘mystery guest’ doesn’t fit the grid, but... that never stopped Mark, now did it?
And of course...
... you know what they say about a weapon introduced in the first act.
#BBC Dracula#Inside No.9#Sherlock#The Dark Compass#Riddle of the Sphinx#Steve Pemberton#Mark Gatiss#cryptic crosswords#text and subtext#learning the rules of the game#blood is lives#blood is stories#Chekhov's gun#BBC Dracula meta
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The... the first Elemental Master of Water was named Nya?
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4 legs in the morning, 2 legs in the day, 3 legs in the evening as body and mind decay
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You say I am loved when I can't feel a thing
You say I am strong when I think I am weak
And you say I am held when I am falling short
And when I don't belong, oh You say I am Yours
And I believe
Oh, I believe
What You say of me
I believe
-- You Say by Lauren Daigle
#*by t#s3#1 x 13#riddle of the sphinx#carlos#carlos reyes#pic#picture edit#rafael silva#song picture edit#carlosreyesedit#dailycarlosreyes
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I really don’t think that 9-1-1 Lone Star should be underestimated for the layers (literally and figuratively) that they put into a scene.
Ever since I watched Episode 3x13 (Riddle of the Sphinx) for the first time, I found it really bizarre that they seemed to make such a large set piece out of Carlos not throwing out the onion skins on the cutting board.
As an avid cook myself, my inner neat-freak was screaming at Carlos the entire time to just, “go clean up your work space!” As a man who has been seen cooking many times across the three seasons, Carlos’s cooking space has never been anything but neat and tidy - except for this shot.
Of course, there could be the obvious excuse - Carlos is upset, confused, and stressed, and so he’s not worried about cleaning up (that can happen later) and right now, he needs the comfort of cooking without worrying about anything else.
But as I was rewatching this episode, I couldn’t help but wonder if there was some other layer to keeping the onion skins in the image. Based on just a quick google search and a skim of some articles, the general consensus is that onions can represent memories, disguises, jealously, renewal of difficulties, or the fear of loss - and, well, how does that not play into this episode perfectly?!
Nothing is placed on a film set without meaning, and while 9-1-1 in general hasn’t exactly been the most consistent with their set designs, the onion skins left out on the counter leave something to interpretation, that is for sure.
#9-1-1: lone star#carlos x tk#tarlos#tk strand#carlos reyes#riddle of the sphinx#911 lone star season 3#3x13
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