ok sure i'll talk about farleigh start. i'll talk about his tragedy of never being enough as it were and then having to deal with fucking oliver. sure. disclaimer: it's about class (and race) and the horrible reality of the rich. the horrible reality of living as farleigh.
another disclaimer: i'm white! and poc definitely pick up on everything i'm talking about here as it is, and better. i was and am specifically interested in farleigh vs. oliver but it's impossible to examine without considering race. definitely let me know if anything abt this sucks!
farleigh and oliver are similar. it's annoying because every intruder that is not himself is annoying, partly because felix's attention swaying from farleigh is dangerous; there is always a threat of being discarded, even if no precedent existed. the potential is terrifying.
but you'd think he's seen this before, every summer (if venetia is telling the truth) or at least often enough to learn to recognize it fast, so he should know this will pass. part of it is i think still the deep anxiety, and i think he hated every boy that was there before, and it is sort of routine.
but definitely a huge factor in farleigh's annoyance is the fact that he's a biracial (black for cattons, that's all they see) man in a white rich household. he's alert and exhausted all the time. of course he's angry at oliver, regardless of whether he's the first to crash at saltburn for the summer or the fifty-first.
but the important thing is this.
farleigh is very jealous of and angry and pissed at oliver because farleigh sees all the similarities between them. outsider, in financial trouble, whatever it is, in need of cattons; and yet oliver is preferred. and farleigh seems to be the only one to really consider it. felix does not pick up on the hint when farleigh brings up the birthday party vs. his mother. felix's clumsy "different or... anything like that" is as much about race as it is about class, of course. the "we've done all that we can" bit is felix absolving himself of guilt because surely they had, surely the mysterious collective cattons that he's not really part of had tried all they could do. to him, farleigh is different from oliver, because farleigh has been helped. felix is rich and white and twofold uncomfortable with farleigh, even if he's nice about it, even if he genuinely enjoys his company; he doesn't look too close at farleigh because he feels too guilty to come too close. and farleigh can't do anything about it. he can't nice himself into it. the fucking tragedy of him is that he's never enough in the world of the ultra-rich white, even if (especially because!) he's born into it.
farleigh is very pissed at oliver because farleigh also sees all the differences between them. you know who can be nice poor white enough to fit in? fucking oliver. felix says "just be yourself, they'll love you" when oliver first moves in. farleigh was also probably told the same thing, and felix also probably believed that farleigh could just be himself, but even if the cattons were magically not racist at all (impossible), it wouldn't make a difference to farleigh. he would still self-censor, keep in check, be in dangerous waters (because racism is not just about the individual, but about the system). we see that he'd won himself leeway by years of trial and error by the way he speaks to the family, but it's still within the boundaries of acceptable, built by the cattons. he's part of them because they allow it, and farleigh is very, very aware.
the annoying thing is oliver can be himself. like, truly, genuinely, he can just be. and farleigh can't help but envy that.
as a side note, oliver is obviously jealous of farleigh in the beginning as well, because regardless of the reality of farleigh's situation, he was born into it, and hence, at least in oliver's mind, has his position solidified. oliver's whole thing is unquenchable thirst and hunger for whatever and everything the cattons have (including themselves!). he wishes to have been a catton from birth. to oliver, at first, there's nothing farleigh can really do to lose it. and until he figures out the cattons completely, he can't help but envy that.
but i think farleigh senses something different about oliver early on. at least on the level of the text, we have "you're almost passing [for] a real, human boy", which is so important because farleigh is the first to point out oliver's weirdness. the next to do so is venetia in the bath scene calling him a freak, but it's too late. farleigh is too early.
and i like to think he clocks oliver too early because he sees the jagged edges that he recognizes in himself. i think that one other thing that farleigh envies is oliver's freedom to let go. freedom to let go is very similar to freedom to be, but not quite the same.
to be is about perception: farleigh knows he cannot fall out of line, but would like to, and oliver does not have to worry about it at all (i mean, he does, because oliver also performs for felix, but farleigh doesn't know that).
to let go is about the self: farleigh is too scared to even want what oliver eventually does, to even consider the possibility. oliver can let himself want. oliver can let himself act. oliver just can do things and want things. i'm not sure farleigh can.
and so in this scene, when oliver's wants and actions have landed him nowhere with farleigh, felix, venetia, the cattons, of course farleigh gloats. he can let himself do that, because if the cattons are slowly discarding him, farleigh can allow himself this one small victory. he's relieved because despite the dangerous similarities, oliver is, thankfully, not really the same as farleigh, right?
but like. this movie is a love letter to all things gothic. oliver is a white man. he prevails. the brief performance that oliver put on did eventually end up more effective than farleigh's lifetime of constraint. my heart fucking breaks for him to be honest.
the issue that remains is the fact of farleigh's survival. i like to think that oliver came to respect him. oliver is smart, but farleigh is clever. he picks up on everything oliver does (to refer back to the karaoke scene, farleigh immediately retaliates in the cleverest way, in the moment), and he's the only one to do so consistently (venetia, again, for example, comes close, but too late; oliver doesn't like that, there's nothing to work with). hence, stay with me for a little longer, the paradox: farleigh survives because he was never enough for the cattons, but he is very worthy of oliver's attention. in his own freaky way, oliver wants him. look at that.
so. farleigh. farleigh might come back. he always comes back. and i think oliver wants to try harder next time.
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thinking about the 'I would never court Penelope Featherington' scene again and how angry our fandom has been at Colin for it for the last two years and wondering. . .what exactly was he meant to say?
Lord Fife and his friends are *slimy*. They are gross. They have 0 respect for women. Fife isn't *Colin's* friend. Fife is *Anthony's* friend. Fife runs in Anthony's circles. Misogynistic circles with misogynistic language. Fife and Co. are out here saying the debutantes are only good for being 'wed, bed, and bred'. Fife is the one out here, well into his 30s and with an established title, fucking an 18 year woman raw on her first year out in the marriage mart with 0 intention to marry her. That is 10000% an act of violence in this society. And you *know* he's bragging about it. Hell, he was probably bragging about it right before he asked Colin about Penelope.
Colin's not in those circles. Colin has female friends. Colin respects his mother. Colin cares for his sisters. The worst thing Colin has EVER said about a woman was to call her 'cruel'.
So. . .what is Colin meant to say? "No, we're just friends" isn't going to fly for people like Fife. As IF he wouldn't reply with 'Yeah, suuuuuure, wink wink nudge nudge'. Thus ruining Penelope and fucking over her future completely. A lesser man than Colin would have let them think what they wanted, and that would have still ruined Penelope in their eyes. Silence? Incriminating.
And he doesn't want FIFE of all people to know about his close friendship with Penelope. Fife who has never once been seen respecting a woman. Fife who has never once viewed a woman as a person and not a sexual conquest. Penelope is a safe place for Colin. Is precious to him. He KNOWS that conversation could have destroyed her reputation.
People talk about how he 'ruined her prospects', but in actuality, Colin responding the way he did. . .likely SAVED her prospects. There was NOTHING he could have said except for a vehement refusal, completely shutting down the conversation, that would have spared her from their judgement and cruelty. Sure, they laughed, and maybe it was at Pen. Maybe it was at Colin. (frankly, how good of a twist would it be if they WERE laughing at Colin? Colin the 'green' boy back from his travels after being oh so gullible and getting lied to by his ex fiance? Anthony made fun of Colin for being a virgin, we think these men, all 10+ years older than him, wouldn't do the same?) But at least they didn't go 'yeah, I guess she's a ruined woman' about it, because that *would* have destroyed her reputation
We talk about how Colin could have worded it differently, but honestly?
I think he said the exact right thing in those circumstances
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More favorite shots from Army of the Doomstar!
Post below the cut because it’s long and it goes without saying: Major spoilers for Army of the Doomstar! Note: I did increase the exposure on a few of these because there were a few very dark scenes.
I love how they showed so effectively how isolated and depressed Murderface was becoming. He doesn’t even have his usual sneer, he just looks so defeated which is especially sad; Murderface’s character was always able to complain and moan but his spirit is so broken that there’s nothing to even say, all he can do is look down.
The fist or the hand?
Murderface looking trapped here always gets to me. The more times I watch this, the more feelings I have about Murderface and how beautifully they portrayed his arc. This is another of my favorite shots in the whole movie.
This one really hurt my heart - Nathan seeing Magnus at the very end, and Magnus looks so kind and soft. This is how Nathan thinks of and remembers him, despite everything that happened. Nathan loved his brother so much and Magnus didn’t realize it (at least not until it was too late and taking himself out of the picture was the only option he saw).
Comparing that to how he recalled Magnus at the beginning when he collapsed at the concert shows that what he saw at the end were his true feelings - he forgave Magnus and was able to remember him with love again. (I actually think Magnus is still alive but that’s another post.)
This shot of the Whale Goddess really took my breath away.
Same for this shot, gorgeous.
Something I’ve always really appreciated about Metalocalypse is how they draw the regular jackoffs. They always represent lots of diversity in the crowds without making normal people into caricatures. Every one of us can see ourselves out there in the crowds of the Army of the Doomstar.
Do you have a request for a screenshot or gif you want? Feel free to let me know and I will do my best. :) I can also do adjustments and edits to optimize color.
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So like, do people accept the whole Edward and Henry being removed from the famous 8 and Tidmouth sheds thing? And if they don't, do they still include the new characters anyway? Like Rebecca or whatever, I really don't know anything about them.
Me personally I would make them just come back, but as to if that would kick out the other two is yet to be seen. That kind of adds some drama, but I don't really know or care enough about the new characters to be like, wow shame 💔
Because I'm trying to watch A Shed for Edward right now but I'm writhing and seething in my skin. How could they do this to him? After EVERYTHING?! Can the guy not catch a break? He's like, a pillar of the community you can't just GET RID OF HIM!
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