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pocketsizedquasar · 3 years

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it’s been a bit now so. misc 200/end of mag in general thoughts? under a cut because this is a bit long, and i will preface this to say that i mostly enjoyed the episode but this is going to be mostly my criticisms, bc i feel like the good parts have already been well covered by people other than me. so yeah just a warning this is mostly crit

- it’s Still very hard for me to parse how i feel about this episode, but i think after sitting on it for a bit, i’ve come to the general conclusion that i am very satisfied plot-wise (in terms of tragedy/the structure of tragedies, the open-endedness of our ending, the general Writing TM), but not so much satisfied character-wise (in terms of arc and relationship resolution). I think we deserved more resolution on wtgfs -- i wanted more with them! more with melanie and jon; more with the melanie and georgie and basira’s side of the plan. more than that really small tidbit that we got at the end! and... honestly? a little bit more emphasis on the weight of Jon actually dooming other worlds in the end, and what that means for Jon and for wtgfs/basira. Especially with the context of the consequences re: the Web...won. no caveats or complications, the Web got. Exactly what it wanted.

- on that note, From a uh. Critique against capitalism standpoint I’m not sure how I feel about the ending? And I don’t really want to. Read too much into what isn’t there? But I mean mag has long been a pretty explicit anticapitalist narrative so...? Yeah, I’m not a big fan of the implications of WTGFs and basira basically just being treated as narratively right in terms of letting the eldritch evil stand-in for capitalism have whatever it wanted and feeding it and doing exactly what it asked them to do. and having Little consequence as a result of that. Obviously they’ll still face loads of hardship, but that comes from the apocalypse, not from, like,.,, doing the direct bidding of the Capitalist Monster/System/etc to be clear, i’m not like...mad they made the “wrong” decision; there was no wrong or right decision here. but I am a little upset that for all they spent 199 discussing the various consequences of each choice, we got to see very little of that actual consequence playing out...none of the survivors seem to really be carrying the guilt or even the full understanding of what they did, because they never saw the suffering they could create as anything more than a hypothetical. i feel like we could have spent just a bit more time with them dealing with that. a bit more time even with jon dealing with that, a bit more time spent on jon changing his mind. other people have said as much better than me but. yeah

- i feel like there was a lot of character stuff brought up in s5 and especially act iii that i would’ve loved to have seen more resolution of. why have that whole thing about Georgie telling jon to give melanie his last words himself, if Jon was going to come back but then never bring that up again (full disclosure this is smthn that @pronouncingitwang brought up!)? Why have Jon say he was “going to go apologize to [his] boyfriend”/Jon tell Martin multiple times that they were going to talk about their fight “later” and then not have that happen on screen? Why did we have two whole episodes of cultist interactions if they were just going to be removed off screen? Why have martin’s “I’ll get jon to destroy me like the others” decision if that doesn’t really come up? what about salesa!! why tell us melanie hating jon is a projection of her self hatred and then not bring that up again? why give annabelle all those juicy interactions with martin and then turn her into a monster when jon shows up, why give her so much character and backstory and then so thoroughly remove her agency? why have all these really cool parallels between jon and annabelle if annabelle is just going to be this monstrous and agency-less plot device with no follow-up? what happened to her!

- on that note...annabelle. They... really took this character who is a Black woman and who had so many parallels to Jon and who they could’ve like. very easily Actually made into a protagonist of color (because we only got one!! and she’s a cop!!!!) (or if not protagonist, at least smthn more sympathetic), (which wouldn’t have negated previous racial problems w tma, but would’ve shown growth from them) and made her a scary monster who just Serves her capitalist entity overlord without personal agency and then bows out when she’s no longer needed...you can have whatever diagetic/watsonian explanations you want for how 197 went, like sure she was just ~being dramatic~ and putting on a show for jon, but all that is still something the writers Decided to do in the real world, and the racial implications of her character arc are just. not great. and her character had So much more narrative potential. idk i will forever be salty about annabelle

- i Still Don’t Like the web being sentient!! i said this after 197 and i’m sayin it again! i think it makes it less frightening and less interesting! with the End being aware of its own, well, end, I actually thought that worked, and i really liked the corpse routes ep, but for some reason I didn’t with the Web? which seems hypocritical of me, I know, but, look: The embodiment of the fear of dying being aware of and welcoming its own dying emphasizes the inevitability and the truth of that fear. Which is why it works for the End. It’s still not recognizably /human/, because it is inexorable and certain, in a way nothing human can be. So its awareness of its own end DOESNT feel like flattening the worldbuilding. And using my own logic, I guess sure you could say the embodiment of the fear of manipulation and schemes being capable of scheming does the same thing but it. It rly doesn’t feel the same to me? Bc that’s rly a fear borne of human sentience & behavior. and so to give it that sentience makes it feel more human, and less interesting within the context of the horror. this is definitely just a personal taste thing as far as how i like horror and eldritch deities and such but yeah.

- i liked the statement a lot like, as a little self contained story? it was really nice to have jon give us one last story before the end. I thought that was sweet and i liked how the statement was written! on the same note though, i could’ve also gone without knowing like. the entire cosmology of how the fears came into being. again, just a personal thing, i don’t like my horror to be known, even at the end of it all when it doesn’t matter what we’re still scared of anymore. I just. I want my fears to be frightening and beyond comprehension and unknowable. it just leads me to have more questions than i really need at the Final episode? i would love to keep the jon giving us one final statement thing, and you know what? i would've loved: statement of the archivist, regarding jonathan sims. no idea what you’d do with that but it sounds cool in my head.

- very minor and very specific-to-me thing but i Don’t Like that basira got to be the Last Words...sorry y’all I just don’t like basira i can’t get behind trying to make me feel sympathetic for a cop who stood by and let people get murdered by the state for years and only felt bad about it bc fearpocalypse i just can’t. i don’t like her never have never will and also melanie and georgie are right there why didn’t they get to have the last words it would have been so much better ... why not have the person who loved jon and Knew very deeply his tendency to self-sacrifice say something or why not the person who is in-canon very similar to Jon and self-admittedly projecting her self hatred onto him say some sort of her own attempt at peace why not either of these two ahhhh

- i uhhhh. really liked jon killing jonah. jon for once getting to be angry for himself. that felt really nice. no ceaseless watcher nonsense either, just him and a knife and beating the shit out of this guy who even now continues to underestimate and belittle him. and i liked jon doing what he did in general -- i actually changed my mind on this; i really didn’t like it at first but i do now. i’m sad that it came at the expense of his promise to martin, but it makes sense and...i don’t want to say jon was right, because i again don’t think any of the decisions were right per se, but in terms of like... not doing what the “elder fear deity who wants to feed on fear and pain for literal eternity” wanted... yeah. i get it. he would never have been able to go along with that willingly. and he really shouldn’t have been, considering all that he went through being a puppet for said elder fear deity. and from a tragedy standpoint too, i actually think it’s a really really well written end for him. considering how my favorite tragedies are structured and how the way out has to be presented to us, but the tragic hero Ultimately will always fall back on their faults, yeah, this makes a lot of sense. hamlet is granted a way out and he doesn’t take it; he always always hesitates. captain ahab is granted the chance to turn and leave his chase and love instead, and he doesn’t take it. orpheus turns around. etc etc. I think it was also really lovely that jon got a twist on that, that in the end he did change, for just a moment, and chose love instead. even in the face of all the horror that that might mean. i really like that he and martin are together, wherever or however they are. that martin is allowed to feel (rightly) furious and betrayed and still so, so unconditionally in love.

idk i have more thoughts probably but again they’re very hard to parse and mostly just getting into the super specific realm which i don’t think is particularly helpful

i have a lot of feelings for jon and martin and their ending i think it was the best possible ending we could’ve gotten for those two and i Am really. I just have a lot of feelings.

#mag 200 #tma #the magnus archives #jon sims #jonathan sims #martin blackwood #melanie king #basira hussain #annabelle cane #georgie barker #tma crit #the magnus archives crit #tma spoilers #the magnus archives spoilers #quasartalks #yeah i don't know lots of mixed feelings!!#i think for me i'd go about it one of two ways:#first if i'm just redoing 200 to my own taste and not anything else #i think i'd really go for the martin kills jonah and is forced to be killed by jon somehow? or something along those lines #i really wanted a callback to his decision in his own domain #i'd likely still have them die together? idk most of their stuff felt pretty good i'd just spend more time with them AND the girls #but i think if i really had my way i'd go back to 197 #remove the web's sentience and have it be just another desperate guess of a human trying to understand their patron's wants #(which i've talked abt before so i won't rehash here)#annabelle jon team up please let's go #and then ASIDE from that i can have my own completely happy ending au in addition lmao #but i do like me some tragedy #also tbc i don't mean to imply that like. 'things that i would've done differently' and 'things that are bad' are the same thing #they're not! just bc i wouldn't have made a writing decision doesn't mean it is bad. i just wanted to get these thoughts out.

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yandere-daydreams · 4 years

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Title: Duplicity.

Word Count: 2.6k

Written for an anonymous commissioner.

Paring: Yandere!Hanako/Reader & Yandere!Tsukasa/Reader.

Synopsis: The afterlife is very, very lonely. It effects come spirits more than others, but Hanako’s gotten close to so many humans, and he’s been left so many times... You can hardly blame him for wanting to be selfish. You can’t fault Tsukasa for wanting to keep his favorite toy close, either.

TW: Death, Graphic Violence, Blood, Imprisonment (via Ghost Mechanics), and Emotional Manipulation.

No one should have to watch themselves die.

You guess you didn’t, really. Or, you did, but you didn’t watch as closely as you could have. You’d like to say that you faced your end bravely, that you were cunning and quick and did your damnedest to make sure your assailant left your encounter only slightly better off than you did, but you’d never been one for self-flattery. As soon as you realized you couldn’t escape, as soon as you’d caught the glimpse of something glinting in the dim, flickering school lights and managed to put a name to it, you’d clenched your eyes shut, threw your arms over your face, and begged for mercy. You could remember the pain, if you wanted to, the intensity of it, but you don’t try to. You could recall the feeling of your own blood flowing over your fingertips, but you’d really rather not. You know that, one moment, there was something, and the next, there was nothing. Black, frigid nothing. For a few seconds, you couldn’t think of anything worse than that nothingness.

And then, there was something, and you realized there were things much, much worse than nothing.

You think you would’ve found a way to stay dead, if you knew he’d been the one to kill you.

He’s still bent over your unmoving body when you reform, on your knees and beside yourself, your skin translucent and your chest so much more hollow than it used to be. You let yourself linger on the sensation for a moment or two, attempting to inhale and exhale before realizing how odd it feels to breathe when you don’t have to. You’re still caught up in the change when your attention drifts, first to the dark stains littered across the tile floor, obscured by the darkness, and then to… yourself. What used to be you. You, but not you.

Dead you, with a familiar knife still rooted in its diaphragm, and a familiar boy straddling its waist.

It’s disorienting. He isn’t panting, but his chest is heaving in silent, uneven sobs and his eyes closed as tightly as yours had been. With one hand clamped around the hilt of his knife and the other pressed to the ground, supporting his nonexistent weight, he draws his weapon out, then with only a slight hesitation, he plunges it back in. Out, then in, again and again and again until something breaks underneath him, your ribs caving in with a sickening crack. His eyes fly open, his shoulders tensing as he scrambles backward, but it’s a short-lived panic. All it takes is a quick scan over the corpse underneath him, and with an exhausted sigh, he drops his knife, relieved that you’re as dead as he is.

You’re not sure whether the cold feeling that runs through you is betrayal or disgust, but you don’t have much time to decide. A scream hitches in your throat, emerging in a stifled croak, and Hanako turns towards you, all wide-eyes and parted lips, as if he’d gotten caught rummaging through Yashiro’s back or playing with Kou’s staff, rather than killing his friend. He has time to lift a hand, to open his mouth, but if he says anything, you can’t make it out. Not over the blood suddenly rushing past your ears.

“I don’t…” You mumble, taking a step forward, then one back. You drive your nails into your palms, hoping to ground yourself, but it hurts less than you thought it would. You’re not sure whether that’s a reason to be relieved, or just a new source of distress. “Hanako, I don’t… Why are you--”

“It’s not what it looks like.” The words are hasty, spouted in such a rush, you can hardly differentiate one from the other. He wasn’t expecting this part. “I mean, it is, but you don’t understand. I didn’t want to hurt you.”

You don’t respond. You don’t want to respond.

You turn on your heel, and you run. As fast as you can and as far as you can, and thankfully, Hanako doesn’t try to follow.

Surprisingly, it’s Tsukasa that comes to find you first.

Holing yourself up in a storage closet wasn’t your smartest decision, but it wasn’t like you had much of a choice. You were scared, you are scared, but it was the only thing you could think to do, after realizing you wouldn’t be able to leave Kamome. You’re still hugging your knees, fruitlessly attempting to warm yourself up when he walks through the closed door. You’re not sure where you ran to in your desperation, but it’s not like he has a reason to move secretively, nor does Hanako have a reason to stop him from doing so. You’d promised to visit sometime after your graduation, sometime during a break, as stupid as that turned out to be. The staff wouldn’t return for weeks, let alone the students.

Disturbingly, the thought crosses your mind that your body might sit there, undiscovered and decaying, until the first day of the next school year. In an effort to distract yourself, you decide you would rather face Tsukasa than linger on it.

When you bother to look up, he’s hovering in front of you, his eyes as wide as his brother’s and twice as unsuspecting. You attempt to melt into the wall, and then, for fear that you actually might, you stop. “What do you want?”

“To see you,” He answers, no trace of malice or discontent audible in his voice. He’s uncomfortably close, the distance between the two of you minimal, but you're glad for the space. You’ve seen him be far less courteous to spirits he’s known for a shorter time, spirits he’s far more fond of. “I don’t think Amane was as gentle as he could’ve been. I wanted to make sure you were alright.” He thinks, for a moment, before he adds a brief explanation. “It’d be boring if you were already broken.”

“Like you’d care,” You mumble, letting your gaze fall to a dusty corner someplace behind him. “I’m dead, aren’t I? That probably goes with at least one of your schemes.”

At that, he grins. “My brother and I worked together,” He admits, rubbing the back of his neck as he floats upward absent-mindedly, his head bowing and his cheeks turning pink with the barest hints of a flush. “He was really stubborn about it, though. He didn’t come to me until the very last minute, and even then, he was so specific about the rumor he let me spread for you…” Tsukasa laughs, the noise high-pitched and half-suppressed, more of a giggle than anything. “You should’ve heard some of the stories we were going to try! Sakura made it look so easy, but--”

“A rumor?” The question slips out before you can stop it, the subject instilling as curiosity as revulsion. “What do you mean you ‘spread a rumor’ for me?”

“Oh, that was my part!” There’s a clap, a roll that left him lying on his back, and despite yourself, you begin to uncurl. Just enough to make him more excited than he had to be. “I was supposed to set things up, give you a rumor to slide into, my big brother just had to get you here! I did all the boring, business stuff, and Amane got to do the dirty work.” Tsukasa lets out a disappointed huff, pursing his lips. “He was so mean about it, too. He said he didn’t trust me to be responsible, whenever that means.”

It’s a numb sense of shock, a dull wave of luke-warm information you only barely don’t know. Hanako’s betrayal makes sense. You don’t like it, nor does your awareness do anything to soften the blow, but it does. He’s a spirit, someone who did something awful enough to warrant an afterlife full of duty and obligation. You feel stupid for not realizing he would be willing to do something awful to you, too.

When you speak, you nearly forget he’s meant to respond. You want to hear yourself talk more than you want to hear his grim clarifications about a story you have a feeling you don’t want to know. “How’d you get him to do it?” You ask, already fearing his response. “Hanako didn’t seem… I can’t believe he would--”

“I didn’t have to,” He chirps, cutting in without hesitation. He really doesn’t have to.

The way his smile widens is enough to silence you on its own.

“It was all Amane’s idea.”

When Hanako finally comes to you, it’s only because you come to him, first.

Or, you leave your closet, at least. It seems pointless to avoid him, even if your legs start to shake before you can make it to the girl’s bathroom, the ghost of a heartbeat racing in your chest and your vision going dark at the edges without warning. It’s a terrible feeling. Everything is duller, when nothing’s life or death. Sensations are fainter, the world around you seems dimmer, and no matter what you do, you can’t seem to get warm. Although, you aren’t sure if that’s because you're dead, or because you’re trapped in a dark, dank school building you’ve never seen past sunset. In the end, you give up about a hundred steps away from Hanako’s domain, you back against a wall and your legs crossed underneath you.

It’s a pathetic position, but you’re pathetic.

No one with any dignity would crawl back to their murderer so quickly.

He’s kind enough not to say anything. There’s no friendly greeting, no callback to a better time in your companionship, just a deep breath and a solid thud as he falls against the cheap, plaster wall, then another when he hits the ground. You try to resist the temptation to look at him, to see if he’s just as miserable as you are, but it’s a futile thing to fight.

That doesn’t mean you don’t regret it, though. He’s… different, for lack of a better way to put it, less lively than he usually is. All troubled eyes and wilting posture and thoughtful glances in your direction that get taken back so quickly, you have to wonder if he’d ever offered them in the first place. He’s sad, obviously, he’s guilty, but there’s something missing. Something absent from his display.

It dawns on you abruptly. As unwelcome as it is unpleasant.

He’s guilty, but he isn’t sorry.

He doesn’t regret what he did to you, he’s just disappointed he got caught.

Still, he’s the first to speak, his voice listless and downtrodden. Like a child who’s just been put in time-out and forced to apologize. “I’m sorry. I calculated wrong, I… I thought it would take more time. I didn’t think you’d have to see anything.” He pauses, something troubled flitting over his expression. You might’ve missed it, if you hadn’t known him so well. “I wouldn’t do that to you. I didn’t want to--”

“I don’t want to hear it.” Your tone’s far from authoritative, the declaration more sober than strict, but Hanako falls silent all the same, giving you a moment to gather your thoughts. Not that there was much to think over. “I don’t think I really care about that. I’m angry, I’m absolutely angry, but… There’s nothing you can say to fix this.” You feel him bristle next to you, folding into himself as his eyes narrow at nothing in particular, but if he’s going to interrupt you, he doesn’t make a move to do so. His acceptance is a small relief, but it’s a relief all the same. “I just want to know why. We’re friends, Hanako. If I did something to make you think I deserved this, all you had to do was tell me. I would’ve transferred to another school, or stopped bothering you. I could’ve left. You didn’t have to--”

“I did.”

You snap towards him, moving to speak, but Hanako reaches out before you can, his fist claiming around your sleeve. It’s a sickeningly childish gesture, a sickeningly desperate one, meant to stop you from leaving before the thought could even cross your mind. “I want you to stay. It’s not--” His voice cracks, his whole body tensing. “I couldn’t just sit back and watch you leave. I couldn’t watch you move on, not after Yashiro took the first chance she had to run. I didn’t want to. I’m selfish, and I didn’t want to.”

For a second, you’re too stunned to speak. You’re confused, you’re disoriented, that crushing, oppressive dizziness only getting worse every time you try to associate the scared kid sitting at your side with the same boy who ended your life. “I would’ve come back,” You stammer, grasping for something to say, a sentiment that would comfort you as much as it soothed him. “I graduated, but I wasn’t going to leave you alone. Yashiro visits every time she gets the chance, I would’ve done the same thing. You know that, Hanako, you knew that when you… When you decided to do this.”

“Nene’s growing up,” He spits. “She’ll stop. She’ll get busy with her university classes and meet a boy and forget about me, about us. I’ll be a bad dream, and you’ll be her annoying underclassmen. In a few years, Kou’s going to care more about exorcising spirits than befriending them, if he cares at all. He might forget, too.” He drops your sleeve, pulling into himself, but it’s hardly an improvement. Like this, he just looks withdrawn, spiteful. Someone who knows what kind of trap they’ve been caught in, but still refuses to completely submit to it. “They always forget. You would’ve, if I let you.”

You want to deny it. You can think of a thousand reasons you wouldn’t, a thousand moments you’ve done more than enough to prove you’d never willingly abandon him, and yet, all your arguments and disputes and defenses disappear the moment you turn towards Hanako, finally looking at him in earnest. You think he’s going to be angry, furious, violent, and yet, your expectations couldn’t be farther from the truth. Rather than balling his fists and steeling himself, he’s shaking, trembling, rubbing furiously at his eyes with sleeves that are just a hair’s width too long, every tear he misses falling to his chest, unnoticed and neglected. You can’t hear him crying, but you almost wish you could. The sobs that rack over him are silent, his jaw locked in place and his teeth grit to the point of pain, but the few noises that slip through are pitchy, pitiful, evidence that something much louder is coming, something Hanako won’t be able to control. Something no one should have to go through, not alone.

Something you don’t want to see your friend go through alone.

You don’t think. You rest a hand on his shoulder, tugging him towards you gently, and just like that, Hanako’s face is buried in your shoulder, his arms wrapped around your midriff and yours resting limply on his shoulders, giving him permission to be as close as he wants to be. It’s not amnesty, but it’s sympathy, and that’s enough for Hanako to melt into you, to cling to you like a lifeline.

To make you think you might be able to forgive him, one day. Even if the idea seems incomprehensible, now.

So wrapped up in optimistic thoughts, you don’t notice how tight his grip is, as he clutches at your shirt. You don’t pull back when he goes quiet too quickly, or mention how easily he’s convinced to go still. You don’t feel the tiny, contented smile soon pressing into your skin, small but just as self-satisfied as any grin or smirk could ever hope to be. Involuntary, but genuine.

More genuine than any tear Hanako could ever force out, at least.

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iraqdinar · 3 years

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Iraq Dinar: Manager of Currency Exchange Makes Startling Admission

Since September, I’ve received first-hand information from two different credible, named sources, which by all accounts appear to be newsworthy developments to IQD holders/investors/speculators, as well as anyone sitting on the fence trying to make a decision of whether and how much if any to invest.

To be clear, I don’t have anything from an official source... Well, that’s not entirely true. I do. It was a person I believe to be a very high-level insider who first brought the Dinar RV to my attention. However, I will not elaborate upon that nor who the individual is that told me. For one thing, I don’t even know his name/identity, and I know better than to ask for it. I suspect that’s one of the reasons he talks to me. An image search of my name with and without my “Fat Lester” twitter handle reveals a sampling of some of the people I know, am friends with, have worked for and/or met. This person is WAAAAY more connected than I am or ever will be. But his information isn’t new, and was pretty general in nature. It essentially said that buying IQD might be a good move, and that anyone who agrees but hasn’t done so yet may want to consider not waiting much longer. What makes it significant is who said it, and that it was said to me first-hand (as well as publicly). But since I don’t know the identity of who said it, just that the individual is an extremely connected insider, I’ll not name his social media profiles in this post.

Manager of Local Currency Exchange Makes Startling Revelation

The first of the two developments I believe to be newsworthy came from the manager of a local currency exchange business (photographic proof below). I folded the receipt so the name of the business isn’t showing because I don’t want to contribute to the lady being fired or getting into any trouble at work.

I was there to buy Vietnam Dong, and I asked why IQD had recently been removed from her employer’s website. She said the federal government had come to them and told them they were no longer allowed to sell IQD. They could buy it, but anything they bought had to be exchanged for dollars and could not be resold. That conversation occurred September 08. I purchased IQD through them in July after a six week wait (the waiting list was long). IQD had been listed on their site as recently as a couple weeks before that day. I can only think of one reason why the US government would do that. Maybe I’m missing something so please comment if anyone reading this can think of any I may be missing.

Mid East Banknote Dealer: Iraq Reduces Amount of IQD One May Leave Country with from 10,000,000 IQD to 1,000,000 IQD; Begins Strict Enforcement

At the height of the shortages mid-summer, I used my experience selling online to find a collectible Mid East banknotes dealer who was selling IQD for about 60% of the lowest eBay prices at the time.

He’s been my supplier ever since, and we’ve developed quite a rapport and friendship. He is very grateful that I found him because he had no idea about the RV. He’s based in Ankara, Turkey, and since IQD became hard to find he started going into Iraq to get it (or going to the border and paying Iraqis to get it for him).

Well, since he started having to drive to the border to get it, Iraq has had a 10 million IQD limit on the amount of cash one can leave the country with. That said, according to the gentleman whose name is Laeth and whose last name I’m not able to spell, that limit had never before been enforced. The most recent trip he made, the amount of cash one could leave Iraq with had been reduced from 10 million IQD down to 1 million IQD, and Iraqi officials had security teams at every border crossing, and were thoroughly searching every individual and every vehicle trying to leave the country. I repeat, they were searching everyone who was LEAVING Iraq.

It’s not uncommon for cars and people to be searched at border crossings. But usually it’s the country they’re entering who’s doing the searches. And they’re looking for things like drugs, guns/weapons, trafficked people. Not cash.

These two developments are pretty powerful. I will reveal the identity and name of the employee and business from the first story to someone with an audience so they can verify that I’m not making any of it up. I must ask though that they not publish the manager’s name nor place of employment, and only tell readers/viewers that I did disclose both, and that they independently verified that what I said is in fact accurate, the conversation did occur, and she is in a position to make such a claim and has no incentive to lie about it.

Worth Mentioning: Same Currency Exchange Manager Says RV Totally Legit

One other thing I’ll add: I asked that same lady point-blank if there was legitimacy to all the RV talk I’d been reading about. She unequivocally told me that yes, it’s legit, it’s really happening, but that she couldn’t tell me which if any foreign currencies she owned personally because of her job position. The way she said it and the context in which I asked implied that she herself owns IQD & VND.

I wanted to ask her more but right then other customers came in and she went back to being professional as opposed to being candid.

Neither of the two people cited herein has any incentive to lie. Laeth didn’t know about the RV until I told him, and he knew I intended to buy as much as I could afford anyway. [Redacted] knew I was buying anyway, and only talked to me when we were alone together and even then only when I asked after we’d completed the transaction shown on the receipt.

Take it for what it’s worth.

Journalists wishing to validate the claim regarding the GM of the currency exchange business may reach me at 985-590-2253. Please text me with your name, organization/channel and callback number. By inquiring about her identity, you are agreeing to keep her identity and place of employment confidential unless she explicitly grants permission to publish that information. Reproduction of any of this material in any form is allowed as long as attribution is given to Peter Egan Jr. of Iraq-Dinar.com.

Laeth, the banknote dealer out of Ankara, can be reached by visiting BuyDinar.online . His domain ends in .store or .shop, and he has a Turkish and an Americanized version of his store. Much like his last name, I’ve struggled to remember his store URL so I registered the domain name above and forwarded it to his site for my own convenience when making purchases. He has agreed to speak with anyone who seeks to corroborate the story contained herein.

Note: The URL for Laeth’s original website and the one I purchase from is as follows: https://numizmatika.store/shop.

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soveryanon · 4 years

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Reviewing time for MAG168!

- Yay for Oliver! From the announced title I had suspected The End and/or him because of his veins/roots/tendrils/not-tentacles, so that one wasn’t misleading!

Most of the episode was an audio pun on “Roots”/“Routes”: both the veins, and the reference to a Corpse Road. I’m… not sure about the double-meaning, though (since usually, titles refer both the core of the “statement” and something happening in the metaplot) – obviously, the “roots” were The End’s, they were almost a character by themselves (we could hear them creaking in the background alongside the whispers, a reminder that… they could grow. They could invade other domains when they would need); and the system presented by Oliver could (as he explained) come out of his domain to invade others’ in the search for more victims, which is how this universe could potentially end… but is there an additional meaning that could apply in Jon&Martin’s discussion, or in Jon’s decision to not go after Oliver?

(Regarding Martin: jealousy associated to “roots” makes me think of Corruption, though I don’t subscribe to the idea that Martin is being supernaturally OOC right now (I see how he could potentially be led towards bad choices, but I don’t feel like he’s under an influence right now outside of his own feelings). But I wonder if one of the meanings of “roots” will make sense in retrospect…)

- I was a bit sad to not hear Oliver himself but:

* Jonny, once again, did an amazing job at nailing the intonations and inflections of Oliver’s VA for the character; so, yes, it wasn’t directly Oliver, but we could hear when it was him directly addressing Jon, when it was the “statement” form, and when it was back to Jon.

(* Though I have a tiny sliver of doubt regarding the final “Report ends” afterwards: was it Oliver’s, making fun of Jon’s “statement ends” in the same way that Simon did after he got compelled to blurt out his life story after Martin prompted him? Interestingly, Oliver hadn’t joked about the “statement ends” in MAG121, though he already knew a lot about Jon and his dreams back then, and made it obvious in MAG168 that he knew more than us about Jon’s current state and how he functions (calling him The Eye’s “archive”, and pointing out that Jon can “only take”, which… yeah, feel like that will be relevant later). Or was it Jon saying the “Report ends.” to gain back a semblance of normalcy and making light fun of Oliver’s way of organising his “report” and/or trying to distance himself from what Oliver was saying, reminding himself that it was a subjective statement and that whatever Oliver says is to take with caution since he’s above all an agent of his own patron, however convinced and convincing he may sound? I feel like it was Jon saying that “Report ends.”, given how his voice sobered up, but both could make sense in their own ways…)

* Funnily, it makes sense for Oliver to give his “statement” in this fashion! Because, so far, he had never directly communicated with an Archivist in a situation that would allow reciprocity: he gave his statement to the Institute, while watching Gertrude in the next room (MAG011); he gave his statement to Jon while Jon was in a coma, so unable to answer him (MAG121); and now, he gave his “report” about his domain through Jon, addressing it both to The Eye and to Jon (… but is there a difference at this point?). In all cases, he was unreachable. So now, it feels even more significant that the only person he has ever interacted with on tape was End-touched Georgie, and that she managed to exchange words with him…

- Given how Oliver gave this “report” to Jon, that the “I” was clearly Oliver… What does it say about the narrator of previous statements? Were the “I”s in those the domains or the Fears themselves, talking through Jon?

… If that’s the case, what is exactly happening with the tape recorders, who are gorging themselves with these new forms of statements and apparently freeing Jon from the weight of them…?

(And who was the narrator in MAG167 then? The Eye itself?)

- Laughing so hard because Oliver’s background (MAG011: “I’ve lived in London for almost a decade now. I came here to do my undergraduate degree at the London School of Economics. I ended up taking a position with Barclays shortly after graduating and did well enough there.”) showed so much in the way he organised his ~report~ (not a “statement”, not a “terror”, but a “report”, Oliver wanted to be SPECIAL, uh…):

(MAG168) ARCHIVIST: “Report to prevent future deaths. This report is being sent to: [STATIC FADES] The Great Eye, that watches all who linger in terror, and gorges itself on the sufferings of those under its unrelenting, stuporous gaze! And its Archive, which draws knowledge of this suffering unto itself. 1 – Coroner I am Oliver Banks, sometimes known as Antonio Blake, or doctor Thomas Pridchard. I serve The Coming End That Waits For All And Will Not Be Ignored. 2 – Coroner’s legal powers […] 3 – Investigation and inquest […] 4 – Circumstances of the death […] 5 – Coroner’s concerns […] The matters of concern are as follows. a) […] b) […] c) […] d) […] 6 – Actions that should be taken […] 7 – Your response”

Organised, classified, taking an example to illustrate… and even: doing something else than the subject of his report. It wasn’t a report “to prevent future deaths”. It was a report “about” future deaths and how they couldn’t be prevented. Oliver, please.

- Handsome Man Of Many Aliases:

(MAG011, “Antonio Blake”) “First off, I should admit that I lied to get in here.” […] ARCHIVIST: I had Tim look into it, as I don’t entirely trust the others not to have written it as a practical joke and slipped it into the archives. Unsurprisingly, he came up with nothing. Antonio Blake is a fake name and all of the contact details he provided were similarly fraudulent. It’s almost certainly a joke, a bit of hazing for the new boss, maybe? Best not to engage with it, I think.

(MAG121) OLIVER: So… My name is Oliver Banks. In my other statements, I used the name “Antonio Blake”, but I don’t really think either name has much meaning for me anymore. […] I’m Antonio. GEORGIE: Sure.

(MAG168) ARCHIVIST: “1 – Coroner. I am Oliver Banks, sometimes known as Antonio Blake, or doctor Thomas Pridchard. I serve The Coming End That Waits For All And Will Not Be Ignored.”

… jumped on the Apocalypse occasion to get himself a fancy title, “Coroner”. With the interesting point that a coroner goes back through time to investigate someone’s death, backwards, while Oliver reads the death forwards, as in how it will happen.

- I find the way Oliver referred to Jon really interesting:

(MAG121) OLIVER: Hum… Hello, Jon. Do you… m–mind if I call you Jon? I… I mean. You don’t actually know me, it’s just… well. “Archivist”, it’s so… formal, isn’t it? And I do kind of know you…?

(MAG168) ARCHIVIST: “This report is being sent to: [STATIC FADES] The Great Eye, that watches all who linger in terror, and gorges itself on the sufferings of those under its unrelenting, stuporous gaze! And its Archive, which draws knowledge of this suffering unto itself. […] Please, Jon, do not interpret this report as a ‘plea for mercy’ or a ‘call to action’.”

He used to go with “Archivist” (as a title) and Jon. The “Jon” was clearly a callback to the time he had visited Jon in the hospital (pushing towards casual sympathy? At the very least, reminding him of the last time Oliver had chosen to call him “Jon”, and why he had visited him in the first place), but calling him The Eye’s “Archive” is new on all levels: first time that Oliver calls him that way, and first time that anyone except Jonah called him that way.

(MAG160, Jonah Magnus) “Because the thing about the Archivist is that… well: it’s a bit of a misnomer. It might, perhaps, be better named “the Archive”. Because you do not administer and preserve the records of fear, Jon – you are a record of fear. Both in mind, as you walk the shuddering dread of each statement; and in body, as the Powers each leave their mark upon you. You are a living chronicle of terror.”

So, as much as I had a few reservations about the content of what Oliver was seeing/predicting… it’s true that he knows a lot, about Jon and about how he functions, what he is right now in the grand scheme of things.

* Also: once again, The Eye’s Archive. Not Jonah’s. Jonah is irrelevant. “The Magnus(’) Archive” is not applying to this season so far.

* … Interesting that, although Oliver had directly mentioned that the “Spider” had pushed him to come visit Jon in MAG121, there was no mention at all of any Web activity in this one, as if it was also irrelevant/wouldn’t be able to do anything noteworthy to change the planned course?

- I really love how Oliver tried to sound professional and respectable and kind of… objective about everything?, and at the same time, absolutely went into “My Patron Is Better Than Yours” territory:

(MAG168) ARCHIVIST: “Report to prevent future deaths. This report is being sent to: [STATIC FADES] The Great Eye, that watches all who linger in terror, and gorges itself on the sufferings of those under its unrelenting, stuporous gaze! […] I am Oliver Banks, sometimes known as Antonio Blake, or doctor Thomas Pridchard. I serve The Coming End That Waits For All And Will Not Be Ignored. […] I make this report under no “authority”, no “regulation” or act of law, save the hollow power and grim responsibility given me by the Termination Of All Life. […] a) When Danika Gelsthorpe reaches the end of her Corpse Root, she will die. This new world of Fear reviles death as a release, but the Coming End cannot exist without its reality. It is not a being of dangled promises and shifting torments; the certainty of death waits for all who travel the Corpse Roots, and that certainty… will be delivered on, without hesitation or consideration of any other factors. b) This place has a limit, on the fear that can be generated from them, as their pool is necessarily finite and ultimately, however slowly, it will be exhausted. To be offset, this consideration will require the acquisition of victims from other domains as replacements, potentially inciting… “bad feeling” between those domains. […] However slowly, the domains of Death will be removing sufferers from a closed system. However many thousands of years may be experienced in the meantime… eventually, this world will be left barren and empty. […] Even if such a fate could be avoided, as it comes closer and the other Entities grow in their awareness of their own end, the grotesque ripples of their own impossible panic shall glut and feed my master, gorging it to the point where, perhaps, it will even surpass The Watcher in prominence. […] The End does not fear its own cessation, for it is the certainty and promise of all life, however strange, that it will one day finish, and that includes its own stark existence. It shall be the last and, when the universe is silent and still forever, it shall perhaps, in that impossible moment before it vanishes, finally be satisfied.”

* That condescending tone towards the other Fears, and the fact that they do not truly deliver death (as it would mean losing their victims), but My-Patron-Is-Better-And-A-True-One so The End has to deliver what it promises. (Does that confirm that, for example, Richard-the-human-worm respawned or was still “living” in a way after Sam went through him?)

* … My-Patron-Is-Better-Than-Other-Fears so it will go after the others to get access to their pools of victims, to find new ones.

* My-Patron-Is-Better-Than-Other-Fears so it will feed from them since The End will come after their victims and dry them out of victims, and they can do nothing about it.

* My-Patron-Is-Better-Than-Beholding so it could grow even stronger than it even though Beholding is the current ruler and had reality reshaped to have it on top of everything.

* My-Patron-Is-Better-Than-Everything so it will celebrate its own death, since Ending Itself after having ended everything means that it will have accomplished its true purpose.

(* Bonus “I-Am-My-Patron”, so Jon killing him would just be fine in the order of things, too.)

Like. WOW, Oliver, wow. Really fond of your patron, aren’t you, down to making it like a “challenge” to The Eye.

- Confirmation that The End’s domain lies both in the fear of death (since Danika had served it her entire life), but Oliver insisted pretty much that it also requires actual death to function/to work with its nature.

… So, I’m torn about what degree of credence to give Oliver. On the one side: it goes very well with the message Jonny keeps repeating (including in his gaming streams or in The Mechanisms universe) that “all things end”, that nothing can last forever – it’s what Oliver directly told Jon, it works. It could be the programmed annihilation of this world, whether we (the audience) get to witness it or not: I’m still thinking that The Extinction could come into play and wipe out everything, but if no other Change/cataclysm happens, it could go this way, with this world gradually, slowly dying, because at the core of it, it contained its own doom (the Fears have free reign and can never be truly satiated, so they’ll dry out the whole world without caring about creating a long-lasting “ecosystem”. They don’t know how to preserve, only to consume).

On the other hand, Oliver was extremely adamant about the fact that it would happen, but… has no proof that it will?

(MAG168) ARCHIVIST: “In exactly thirteen stretches of the root on which Danika travels – a stretch being measured in the waves of nauseating terror that flow out of her with such rhythmic regularity – she will finally arrive at her destination. […] I watch, as with each motion, each laboured, reluctant movement along her path, Danika Gelsthorpe is painfully, and inescapably aware of what it is that lies at the end of it. She tries to move backwards, off to the side, any direction other than that unstoppable, inescapable forwards. But her limbs seize up with the attempt. She tries to stay still, but can do so only with the most incredible of efforts. To eke out another few seconds of stasis sets every nerve in her body aflame with agony and effort, begging her to scream, despite her jaw being set in a frozen rictus of sombre mourning. I see her relive the coming moment of her inevitable demise. […] When Danika Gelsthorpe reaches the end of her Corpse Root, she will die. This new world of Fear reviles death as a release, but the Coming End cannot exist without its reality. It is not a being of dangled promises and shifting torments; the certainty of death waits for all who travel the Corpse Roots, and that certainty… will be delivered on, without hesitation or consideration of any other factors.”

The “thirteen stretches” sound like a clear references to the 13 Fears used in Jonah’s incantation (the fourteenth, The Eye, being supposed to rule over the others) and/or the fact that it requires 14 “points” to work (thirteen stretches meaning that there are fourteen points between the beginning and The End), but what I’m more interested is that… there are still thirteen stretches for Danika to travel. What if there is actually no way to travel a whole stretch, because it keeps stretching and getting longer, just because death has to be a horizon that is, by nature, forever elusive, even though Oliver is convinced that it must be a reachable goal since he believes in his patron? (Plus: how come The End will be able to touch other domains when necessary? Wouldn’t it just collapse on itself and disappear on its own, without first putting a dent into others?)

I’m not sure! On the one hand, it works well as a programmed ending, makes sense, and Oliver and The End have displayed time and time again that The End deals in certainty (and Oliver kept repeating that word); on the other hand… as he said, he’s absolutely loyal to his patron, now. Of course he would feel like The End makes the most sense in this world, that the cycle it functions in will keep going, that the same rules apply, that The End will even surpass The Eye. It all feels very subjective. So… we’ll see.

(But given that uncertainty: it feels to me like precisely, we won’t get that scenario, we won’t know for sure that it would have worked this way, because something else will happen. Something that won’t prevent all things from “ending”, but in different circumstances than the current ones…)

- What about Georgie, in the order described by Oliver, though? Given that the rules have changed, and if people are only able to die in The End’s domain by fearing their death, what would happen if the last human standing doesn’t “fear”?

- That puts to mind Peter’s explanation to Martin about why, according to him, The End had not attempted to carry its ritual, and how it was distinct from The Extinction:

(MAG134) PETER: There are two Powers that, to my knowledge, have never attempted to fully manifest, never had followers set them up for a ritual: Mother-of-Puppets, and Terminus. The Web, and The End. The Web, I’ve never really been sure about: if I were to guess, I would say it actually prefers the world as is, playing everyone against each other, and so on. The End, on the other hand… The End doesn’t really need one: it knows that it gets everything eventually, so why bother. The End manifesting would not be a new world of terror; it would be a lifeless world. Devoid of everything. MARTIN: … Including fear. PETER: Exactly. It has no reason to truly attempt to enter our world, it’s… passive. But The Extinction… The Extinction is… different. It’s active. It will seek to create a lifeless world, in a way that none of the other Powers ever would. Some interpretations suggest it might replace us with something new, that can then fear annihilation in turn. But I and those like me would rather that did not happen.

Not that passive given that Oliver mentioned that his domain would go after others’ to get a new supply of victims, when necessary (and that it would the one to upset the current equilibrium), and that Oliver was actually participating in spreading in patron’s fear by warning about the end to come, but!

- Interesting bit is that The End and Oliver have a relationship with time that seems to tie present and future close together (“The moment that you die will feel exactly the same as this one.”), with The End being the only and absolute future possible, while Beholding… doesn’t. It has access to past information, to events currently happening, but Jon pointed out that his powers couldn’t access the future:

(MAG164) ARCHIVIST: She… thinks she’s going to kill Daisy. Like she promised. [STATIC DECREASES] But she’s conflicted. MARTIN: And will she? ARCHIVIST: I–I don’t know, th–the future, th–that’s… that’s not something I can see.

Nice contrast, which makes sense, but also: Jon is special, even for an agent of Beholding, something that Oliver seemed to imply (“But know that, even you, will all your power, cannot keep the world alive forever.”). What can Jon do, in this new reality, besides turning predators into preys and being untouchable for the monsters…?

(I’m also squinting at Oliver’s words, because it could imply… that Jon is currently the only thing keeping the world “alive”, right now?)

- … If Oliver is right, though, laughing forever that Jonah, who feared death the most, would have BROUGHT IT ON HIMSELF:

(MAG138, Robert Smirke) “I beg you, do not pursue this goal; if only a single lesson may be gleaned from my life of long study, and longer hardship, it is that the fear of Death is natural, and to flee from it will only bring greater misery. Repent of your sins, Jonah. Seek forgiveness. I am certain the Dread Powers cannot take a soul that keeps faith in the Resurrection.”

(MAG160, Jonah Magnus) “Why does a man seek to destroy the world? It’s a simple enough answer: for immortality, and power […]; to place yourself beyond pain, and death, and fear. It is an awful thing to know about yourself, but the freedom, Jon, the freedom of it all…! I have dedicated my life to handing the world to these Dread Powers, all for my own gain, and I feel… nothing but satisfaction, in that choice. I am to be a king of a ruined world, and I shall never die. I believe there are far more people in this world who’d take that bargain than you would ever guess. And I have beaten all of them.”

… since his invocation also invited “[all that] dies”. He could have gone with “all that fears to die” or something like that, allowing for a loophole, but he specifically called for all that “dies”.

Jonah.

Jonah, you’re so effing stupid.

(- Re: Jonah, it’s delightful that… he has not been mentioned at all by other monsters/avatars (Annabelle, Helen, the Not!Them) so far. Oliver didn’t either. When it comes to establishing who caused the apocalypse, they’re fully crediting Jon and/or pointing out his relation to The Eye:

(MAG164) HELEN: What would I have to gloat about? Much as I am delighted by this brave new world in which we find ourselves, I can take no credit for it. This was all… you!

(MAG165) NOT!SASHA: Well, of course you want to wallow in my shame like your voyeur master!

(MAG166) HELEN: And Jon, well… he is part of The Eye; a very important part. And he’s able to, shall we say… shift its focus.

(MAG168) ARCHIVIST: “This report is being sent to: [STATIC FADES] The Great Eye, that watches all who linger in terror, and gorges itself on the sufferings of those under its unrelenting, stuporous gaze! And its Archive, which draws knowledge of this suffering unto itself. […] Perhaps once it might have horrified me, or given me some sense of pursuing the ultimate release of the world that you have damned.”

And yes, obviously, Jon was manipulated into doing it, didn’t willingly and knowingly cause it! But it’s hilarious that they’re all “Who?” about Jonah’s whole existence; he… seems absolutely irrelevant to the whole apocalypse deal although he tried to take credit for it. I wonder in which state we’ll meet him and/or if he will be able to express himself in any way – so far, I’m banking on him either being the Panopticon (having merged with the building) or being wrapped in cobwebs.)

- Interestingly, Oliver seemed to credit some level of sentience to the Fears themselves?

(MAG168) ARCHIVIST: “To be offset, this consideration will require the acquisition of victims from other domains as replacements, potentially inciting… ‘bad feeling’ between those domains. […] Even if such a fate could be avoided, as it comes closer and the other Entities grow in their awareness of their own end, the grotesque ripples of their own impossible panic shall glut and feed my master, gorging it to the point where, perhaps, it will even surpass The Watcher in prominence. The others may take what actions they wish; they may plot and plan and tear themselves apart in an attempt to separate from the fate that they know they cannot escape; but they will fail.”

I could expect the avatars/monsters to panic and try to sustain themselves, but the Fears/domains themselves…? (And once again: that phenomenon is very reminiscent of the way Peter described his own fear of The Extinction, as something that could eradicate him and other Fears/avatars…)

- AHAHHA about the image that when Danika would have travelled through the “thirteen stretches”, she would reach the end/The End and die… because that suuuuuure seemed reminiscent of Jon&Martin’s current travels, having to travel through (13) domains in order to reach The Panopticon, without knowing what would happen then.

Not ominous at all.

- I am… really interested in Oliver’s mention that Jon now “may only take”, combined with the fact that Oliver directly called him The Eye’s “Archive”. Specifically since, in MAG121, Oliver had highlighted Jon’s ability to extract statement:

(MAG121) OLIVER: Sorry to go on…! I’m… I don’t talk to many people these days. Putting my thoughts outside myself, it gets a bit… mm… clumsy. Be easier if you could talk back, right? Ask me questions and just have it tumble all out. But no. It’s… it’s just me. Wish there was a better way, but… Touching someone’s mind, it’s not… as simple as that, is it? Doesn’t always make things clearer, y’know? Still. I gave the old woman a statement so, maybe I owe you one as well. That’s… how it works, right? Give you a terror, give you a dream. ’s not like I don’t have them to spare.

(MAG168) ARCHIVIST: “I make this report under no ‘authority’, no ‘regulation’ or act of law, save the hollow power and grim responsibility given me by the Termination Of All Life. With it, I may see and spread the hidden veins of destiny that wrap us close and draw us through the empty, yearning parody of meaning that we call life, knowing at all stages that the last and final point of this journey is a blank and futile end. […] Please, Jon, do not interpret this report as a ‘plea for mercy’ or a ‘call to action’. I would have offered it willingly, of course, but to do so is no longer an option. You cannot ask; you may only take.”

The circumstances in season 5 have changed, we’ve seen that in the way Jon is managing the new “statements”: he has to let them out, he gets liberated from their weight once they have “poured out of [him] down into the tape”. He can only delay the moment he does it for a very short while, he has to do it when they reach a domain. The only exception has been in MAG167, when he gave a statement about Gertrude and her assistants, which was (at least partially) prompted by Martin’s questions.

So we see a difference between “Archive” and “Archivist” as of now with the statements. We’ve also seen Jon using his powers to “know”, prompted (Martin asking him questions in MAG164) and not (Jon knowing about Annabelle’s phone call in MAG167).Witht the exception of channelling The Eye’s powers to turn a predator into a prey, his abilities now seem mostly passive, but I wonder if it will mean something more, regarding his status as an “Archive” (and if Annabelle is planning to use that)…

(… Concrete question too: is Jon still able to compel, nowadays?)

- There are some bits of Martin’s words that made me go “!” because it implies that he had discussed with Jon about these matters beforehand:

(MAG168) MARTIN: Okay… [FOOTSTEPS] I mean… Well, I don’t like this place. ARCHIVIST: Once again, Martin, that’s… [CHUCKLING] sort of the point…! MARTIN: Yeah, yeah, I know, alright, I get it, it’s just… it’s more than that. This place, what did you call it, the… th– … the “Rotten Core”? ARCHIVIST: The Corpse Roots. MARTIN: Yeah, yeah, that. Well, it… It feels… [SIGH] I don’t know, it feels like it’s– ARCHIVIST: Waiting. MARTIN: Yeah! [CREAKING SOUND] Waiting. [SILENCE PUNCTUATED BY THE WHISPERS] This is the one with the, em… the Death guy, isn’t it? ARCHIVIST: This is Oliver Banks’s domain, yes. MARTIN: … So it’s him who’s waiting. […] Alright, fine, yes, yes, I am jealous, alright? Yes, if you absolutely must know! ARCHIVIST: Because he woke me up. MARTIN: [SPLUTTERING] I was there weeks, and nothing. He talks to you for five minutes, and suddenly you’re back on your feet, and bouncing around like a, like a spring chicken! ARCHIVIST: [NERVOUS CHUCKLING] I mean, that’s really not– MARTIN: I mean, what’s so special about him, that you wake up for him and not me, hm? [CREAKING SOUND] Enlighten me.

* “Rotten Core” is MAG157’s title; it’s Adelard’s last message to Gertrude, that was put on Jon’s desk together with the tape of Martin&Peter’s conversation about going down in the tunnels, the association of the two prompting Jon to panic by realising that Martin was probably manipulated into something that didn’t actually have much to do with The Extinction. “Rotten Core” in itself never appeared in Adelard’s email (could have been the subject of it, though?) and, officially, we still don’t know who sent that statement to Jon (Jonah didn’t take credit for that one, neither did Martin or Peter, so… probably Annabelle). But Martin using the phrase seems to imply that he has been filled in about it – did Jon&Martin talk about The Extinction, since the end of MAG159?

* Martin already knew that the “Death Guy” had woken Jon up, so… Jon has explained what happened, too. Unless Martin heard the other tapes during season 4? (And Jon remembered about it and about the fact that it was specifically Oliver who woke him up: this is the first time he has acknowledged that.)

So! They have been exchanging information offscreen!

- I’m HOWLING at petty/jealous Martin.

I didn’t feel like it was toxic or dangerous or OOC at all – Martin [INORDINATELY PLEASED] Blackwood has… quite often been portrayed as incredibly petty and jealous when it came to Jon:

(MAG088) BASIRA: I just, I mean he was good company. Y’know, when he wasn’t being a paranoia machine. He was funny, you know? MARTIN: What, Jon? BASIRA: Yeah. MARTIN: I don’t think I’ve ever heard him tell a joke. BASIRA: Maybe you weren’t listening. MARTIN: Right. Well, I’m sure it’ll get sorted out when DAISY brings him in and you can probably talk to him then. Oh! Sorry, I forgot you’re not actually with the police any more, are you.

(MAG106) MELANIE: [CHUCKLE] Right, well… The jury’s still out on Elias. And anyway, Martin’s always been lovely to you. BASIRA: Hm. I dunno, I mean, you should have seen him when I turned up last year. I think he thought I was trying to steal his precious Archivist. MELANIE: Aaah…! I got the exact same, when Jon was hiding out and came to me with his “source on the inside” stuff. Martin was not impressed. BASIRA: Huff. That boy needs to relax. MELANIE: Or at least find someone else to fuss over.

When MAG121’s case number had been revealed (not in Early-Access, but on the public release), there had been many laughs about the fact that Jon had woken up on February 15th, and how much would it suck for Martin to think that his tearful begging from the trailer migt have happened the day before, on Valentine’s Day, only for handsome mlm Death Prophet Oliver Banks to waltz in and get Jon to wake up instantly? So I’m laughing very hard that yes, Martin is INCREDIBLY and irrationally jealous about it, about not having been able to be the one to wake Jon up like in cheesy romance movies.

… the part that does worry me, however, is how lightly Martin seems to be taking the whole “Kill Bill” thing, and how much of it was being jealous over someone Jon had “needed” help from (not so long after Annabelle made a dig at Martin for the fact that he wasn’t feeling useful to Jon right now). I feel like most of the exchange had Martin caricaturing himself a bit, or at least being aware of how silly he sounded, though? And it felt to me like his insistence towards Jon explaining his reluctance to murder was for Jon to, well, explain what is bothering him about it (outside of an ethical question, there is also the fact that Jon… might feel like if he were to do that to avatars, then other avatars/people would be entitled to do the same to him. Which, honestly? Fair. Jon attacked and wrecked innocent people for his own benefit in season 4. If they decided that, even though he has stopped now, he still has hurt people, still is a monster and still needs to die, the same logic could apply.)

There is indeed an absolute disconnect between Martin’s solution (“smiting”) and the tone/enthusiasm/casualness with which he offers it, and it could be rooted in his own feeling of uselessness, the fact he wants to take revenge over those who hurt him and Jon… So I don’t feel like he’s being supernaturally manipulated, but I’m definitely worried that he could take risks and/or make a veryyyy bad decision while trying to prove that no, he can be “useful”…

- ! Jon sounded SO FOND and so amused at Martin’s jealousy! His insidious “Martin~?” and audible smiles! “My husband is a bitch and I love him” feeling, overall.

I like that the exchange seemed well-handled for both of them: Jon naturally standing his ground and pointing out that Martin’s logic was absolutely childish (“Look, Martin: I am sorry you feel that way, but I’m not going to kill a man just because you’re jealous.”), without sounding accusing either; and Martin ultimately relenting (“Fine. I suppose that’s… reasonable.”). They were two idiots in love, Martin being a bigger idiot this time around, but! Idiots.

- Really curious about how Martin will react if they cross paths with Simon or Daisy. Would he encourage Jon to “smite” them too? Or would he be more ambivalent, a bit torn about it? Why has he reacted differently towards Helen – is it strategical, and he just wants to try to use her as long as he can? Is it because he identifies her as the woman he had seen in the corridors, and still feels guilty about not trying to help her then?

… I’m terrified of how he will react if they cross paths with Jared or Jude, however. Jared terrorised him and caused him to accept Peter’s offer, and Jude hurt Jon deeply, something Jon has a very obvious mark to show for. (Same with Jonah: I think that for Martin, it’s clear in his mind that they’ll “smite” Jonah once they reach the Panopticon. I’m not convinced that, after what happened with the Not!Them, Jon would want to do that anymore: if some monsters and avatars didn’t really have a “choice”, then what about Jonah? At which point did he go rotten, irredeemable? What’s the difference between him and Oliver, who’s currently diversifying the way he’s torturing his victims in his domain “for variety”? Is it only Jon’s personal feelings about whether someone helped him a little bit or ensured his personal misery?)

(- ;; Now that Martin has a connection to Oliver through his jealousy… What if Martin’s ending is to lose Jon and then join Oliver’s domain to at least get an exit and cease to be…?)

- I’m a bit more concerned about what is happening in Jon’s head. First off, the way he presented Oliver, as someone who had “helped” him… versus the way he used to describe his “choice” to wake up:

(MAG121) OLIVER: The thing is, Jon, right now, you have a choice. You’ve put it off a long time; but it’s trapping you here. You are not quite human enough to die, but – still too human to survive. You’re… balanced on an edge, where The End can’t touch you, but you can’t escape Him. I made a choice. We all made choices. Now, you have to– […] Make your choice, Jon.

(MAG136) ARCHIVIST: My– [PAUSE] [INHALE] [SIGH] My memories of the coma are not clear. But I know I made a choice; I made a choice to become… something else. Because I was afraid to die. But ever since then, I… I don’t know if I made the right decision; I–I’m stronger now, tougher, I can… … If I do die, now, or get sealed away somewhere forever… I don’t know if that’s a bad thing.

(MAG168) ARCHIVIST: [SIGH] I don’t know, Martin. [FOOTSTEPS] I just, I don’t think he’s… [SIGH] I don’t know, I don’t think he’s evil. [CREAKING SOUND] MARTIN: Oh, yeah, sure, he’s probably a really kind, benevolent ruler of a hellish fear prison…! ARCHIVIST: It’s just… He helped me. Wh–when I was… He woke me up. MARTIN: Wow. What a hero.

Back in MAG136, Jon wasn’t sure he had made a good decision; it was put into perspective when we learned a few episodes later that, at this point, Jon had already attacked three people to feed, without letting the others know. Trolley problem: was it right, for Jon not to die, if it meant sacrificing three people (soon-to-be five) to sustain himself? Was it a “good” choice?

This episode, Jon unnaturally presented it as Oliver having “helped” him by waking him up, which, mMMM. Seems like he has made his peace with that choice – which, on the one hand, good because less self-deprecating (it’s normal to want to survive), but on the other hand, there would be reasons to still feel guilty for making it, given the consequences?

I’m not really surprised about Jon expressing a degree of sympathy towards Oliver, or at least pointing out that their degree of “choice” in their transformations bears similarities, given that Oliver’s story, his first dreams, the power inflicted on him, came with a gradual desensitisation and acceptance. Chronologically, Oliver’s story is that of someone who gradually stopped fighting fate and came to embrace his Fear-patron (a turning point being when he lost someone precious to him).

(MAG011, “Antonio Blake”) “It was there, sleeping on my friend Anahita’s sofa, in the depths of my misery, that I first started to have the dreams. […] These dreams have been a regular part of my sleeping for about eight years now. Even as life improved and I found a new job and place to live – believe it or not I now work selling crystals and tarot cards in a “magic” shop – they continued to crop up a few times each month.

(MAG032, Jane Prentiss) “How many months has it been like this? Was there a time before? There must have been. I remember a life that was not itching, not fear, not nectar-sweet song. I had a job. I sold crystals. They were clean, and sharp and bright and they did not sing to me, though I sometimes said they did. We would sell the stones to smiling young couples with colour in their hair. I remember, before I found the nest, someone new came. His name was Oliver, and he would look at me so strangely. Not with lust or affection or contempt, but with sadness. Such a deep sadness. And once with fear.”

(MAG121) OLIVER: And about two years before I came to your Institute, something happened – something I didn’t want to talk about. Didn’t even want to think about. I… [SIGH] I started to see them when I was awake.

(MAG042, Jennifer Ling) “The sign above didn’t have an obvious name, simply reading ‘Crystals. Books. Tarot’. He was tall, black and careworn, deep lines of worry etched into an otherwise handsome face. When he saw me looking at him, he began to walk up to me, still with that intense look. I took a couple of steps back, and asked if I could help him. He shook his head as if unsure what to say, then asked me what I was listening to. A chill ran over me as I realised he was staring at my ears. I said I wasn’t listening to anything, as I wasn’t wearing headphones, and asked him what he wanted. He shook his head again, and mumbled something about protecting my hearing. He turned away then, and started walking back into the shop.”

(MAG011, “Antonio Blake”) “This worked fine until I saw my father in the dream, walking down Oxford Street, the pulsing veins climbing up his leg and into his chest. I tried to warn him of course – asked leading questions on his health and how he was feeling, whether he’d been tired recently. I even went so far as to book him a doctor’s appointment, much to his annoyance. It did no good, though – ten days later the heart attack came for him and, despite the rapid response of the paramedics and how much of his medical history I had immediately to hand, there was nothing I could do to save him. He died on New Year’s Eve, and as 2014 ended, so did any hope I had of my dreams doing good in the world.”

(MAG121) OLIVER: Wish I… knew why I came here. I s’pose there’s only so long you can dream about someone, and not at least try to find them. That was it with the old woman too. That was different, though. Way I figure it? She stuck her nose in just about everywhere it wasn’t wanted and stirred up hornets. ‘Till all the precautions in the world couldn’t stop Death from finally catching her. If I’d’ve known more back then, I’m… not sure I would’ve bothered trying to warn her. Still. You live and learn, don’t you?

(MAG011, “Antonio Blake”) “I’m well aware that I don’t even know your name, and I have no responsibility to try and prevent whatever fate is coming for you. Based on my previous experience, such a thing is likely impossible anyway, but after what I saw I couldn’t live with myself if I didn’t at least try. I did as much research into your Institute as possible, and arranged an appointment to provide a statement about some spurious supernatural encounter. Even then I was told that the Archivist only reviews the written statements once they have been taken, so here I am, pouring out my lunatic story on paper in the hopes that you might eventually read it. If you do see this in time and read this far, then to be honest I don’t know what else to tell you. Be careful. There is something coming for you and I don’t know what it is, but it is so much worse than anything I can imagine. At the very least you should look into appointing a successor. Good luck.”

(MAG121) OLIVER: Mmm… Let me tell you about how I tried to escape. […] It’s been almost ten years since I first started dreaming about the deaths of others, seeing those… awful veins crawling into them. Into… wounds not yet open, or… skulls not yet split. People who were about to die. Every night, I’d watch as they’d… sneak up and into folks about to choke on blood, or urging into hearts about to convulse. I’ve… come to terms with it. [DRY LAUGHTER] I’ve learned to live with it! […] And the worst part was that somewhere in me, I… I liked it! Underneath all that awful fear, it felt… like… home. […] I wanted to escape. I… needed to. […] At that moment, a sudden calm came over me. I understood it all. I could follow the line of the huge veins that encased the ship down into the water, leading off to a point almost a mile from the South-East. There. That was it. That was our fate. Where we would always be. Because I was going to take us there. Running was pointless. To try and to escape from my task would only serve to fulfil another. I finally understood what I needed to do.

(MAG168) ARCHIVIST: “With it, I may see and spread the hidden veins of destiny that wrap us close and draw us through the empty, yearning parody of meaning that we call life, knowing at all stages that the last and final point of this journey is a blank and futile end. I have no power to stop it, and even if I did… I would not do so; for to rob a soul of death is as torturous as its inevitable coming. […] And I shall help, ushering on this final, blank emptiness. Perhaps once it might have horrified me, or given me some sense of pursuing the ultimate release of the world that you have damned. But I am too much of my patron now and my feelings cannot help but reflect the shadows of… anticipation that lurk within the grave. […] And so the scope of my domain is yours…! Enter it and destroy me if you wish. I fear the annihilation you would gift me as little as I desire it. I am now, as the thing I feed, a fixed point, that has neither the longing nor the ability to change its state of existence. […] All – things – end, and every step you take, whatever direction you may choose… only brings you closer to it.”

[Dates-wise: Jennifer Ling left her statement in November 2013 and events were about the previous month; given Oliver’s reaction, he was already seeing the veins when awake back then. Jane Prentiss left her statement in February 2014, so she had met Oliver before he lost his father. “Antonio” left his statement in March 2015; Oliver visited Jon on February 15th 2018.]

It has been around eleven years, by the date of the apocalypse, for Oliver to reach this current state in which he describes himself as “The End that laces through every fibre of my soul” and “too much of my patron”. It only took Jon three years.

Though, overall, I was back at the feeling of the MAG140s episodes with the words/thoughts Jon has for victims and avatars:

(MAG168) ARCHIVIST: A lot to think about. I… I feel… [FOOTSTEPS] No. I don’t want to destroy Oliver Banks. It wouldn’t do any good. I know that, and he never asked for this any more than I did. I feel badly for those that exist in his domain, o–of course, I do, but… At least, their suffering will be over, eventually. I can’t destroy everyone I cross paths with, it… [SIGH] No. If Oliver will not seek me out, then… I will leave him be. [TINY CHUCKLES] The avatar of Death… shall live. Martin’s going to be thrilled…! [SIGH]

* Stfu about deciding what is “better” for victims, Jon. (As a personal choice, yes, I would probably prefer the prospect of dying over eternal torment; HOWEVER, it’s not Jon’s place to establish what’s better for others, so Jon trying to rationalise his decision to go after Oliver? Nop, I don’t care, own up to your feelings, don’t scramble for excuses by saying you think it might be more ~charitable~ :<)

* Oliver who “never asked for this any more than I did” also explained very casually that:

(MAG168) ARCHIVIST: “Sometimes, for some small variety, I will allow Danika to brush against another root: the final fate of someone she loves. […] And with each one, she knows her steps forward bring closer not only her own end, but all of theirs. Time walks forward with her, but she has not the strength to stop it. Her fate draws ever-nearer, filling me with the joy of watchful fear, but also my own concerns.”

He’s not a passive jailor. Oliver is actively enjoying tormenting his victims in different ways “for some small variety”.

I thiiiiink more and more that Jon might now be targeting the whole Fear-system, and not (anymore) the individual avatars/monsters who were pushed and twisted by the Fears to become their servants, as he had begun to think about in the second half of season 4 (“I was so sure I’d find something up there. But instead, it was just another broken person trying to come to terms with the wreckage of their life.” about Manuela, lamenting over Jane, etc.) But that brings us back to that awkward stage where it feels to me like Jon is almost more humanising avatars/monsters currently hurting their victims, than the victims themselves who are just… there, and not extremely relevant.

(I’m reaaaally really really curious about how Jon will behave towards Jonah.)

- … I’m also a bit concerned that Jon deciding that Oliver’s victims at least get to die implies something bigger: that Jon is… giving up on the idea to reverse/undo this apocalypse. If these people die, they die, it’s over. Which means that, right now, Jon doesn’t think he has a better alternative to offer them. He had hopes at the end of MAG162, he got a few hints in MAG164 about how to banish the Fears; he… might already be giving hope of fixing things, without officially voicing it?

MAG169’s title screams Desolation to me (+ bonus Agnes, with the way she got anchored to Gertrude and/or her death), and that could mean Jude (… which would be extremely interesting right now, given Martin “Kill Bill” Blackwood’s willingness to harm monsters/avatars; what could go possibly wrong with making him meet someone who physically hurt Jon, leaving a mark to show for it on one of his hands? So much). There is also a potential connection to the Distortion, and in way that could mean bad stuff (and Jon and/or Martin having to go through the door). Potentially Jon’s lighter being put to use, or Jon&Martin getting a clue about why Jon was gifted it?

Alternatively, if the meaning is more oblique and meant to subvert expectations: Vast stuff?

#1 #2 #3 #4 #5 #the magnus archives #tma season 5 #tma liveblog #mag168 #long post/#tma spoilers/#i'm lucky there is a delay with EA this week! :D

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travllingbunny · 5 years

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The 100: 6x09 What You Take With You

How amazing was this episode? It is, so far, one of the two best episodes of the season (alongside 6x07) and probably in my top 10 favorite The 100 episodes of all time.

It benefited from its focus on just three storylines and a limited number of characters, which allowed it to properly focus on the characters and their psychological and emotional journeys.

The title seems to be a reference to the Dagobah cave scene in The Empire Strikes Back, or rather, the dialogue right before it:

Luke: There is something not right here. I feel cold, death.

Yoda: That place… is strong with the dark side of the Force. A domain of evil it is. In you must go.

Luke: What’s in there?

Yoda: Only what you take with you.

Luke ends up having a hallucination of fighting Darth Vader in the cave and killing him, only to take off his helmet and see his own face, in possibly the most famous movie scene of a character confronting their “Shadow” self.

So, when the episode titles for season 6 of The 100 were released, it wasn’t hard to guess that this episode would contain scenes of a character “facing their demons” in a fantasy sequence (and which character it would be, especially as we had seen glimpses of Octavia fighting the Blodreina version of herself in the trailer). As a fan of psychological character exploration through trippy fantasy sequences, I had high expectations from this episode regarding Octavia’s story – and they were completely fulfilled and maybe exceeded. I wasn’t expecting to see Charles Pike in Octavia’s hallucination soul-searching, and his appearance and how he was used was brilliant.

The other two, equally important storylines, were:

the continuation of the saga about the Bellamy/Clarke relationship through the story about the fight between Josephine and Clarke for control of Clarke’s body, and Bellamy’s attempts to save Clarke from real and certain death;

and the conclusion of the opposite storyline - about Abby crossing a lot of ethical lines to work with the Primes and use bodysnatching to resurrect Kane in another body. This was the final death of Marcus Kane, a tragic end of Kabby romance, but it also a fitting ending for Kane, with him asserting his own integrity and morality by choosing to die and refuse to be complicit in the practices of the Primes, but to instead start a fight against them. It will also probably be the turning point in Abby’s character arc. The resolution of this storyline has caused a lot of controversy and anger, which I don’t understand, since Kane’s decision was obvious and in-character, so much that I predicted it last week, because it was the only thing that made sense narratively and for Kane’s characterization.

More thoughts under the cut.

Octavia vs Blodreina

The fact we still don’t know what happened to Diyoza or to Octavia in the Anomaly makes me think that this is a plot that will carry over to season 7, after the bodysnatching business is wrapped up. And the more they postpone the resolution, the more hopeful I am for Diyoza to survive season 6.

Choosing the angry, violent red box instead of the calm green box is such an Octavia thing to do. But maybe it was the right thing in this case, as it let her face her demons head on and figure things out for herself.

The red butterflies scene was one of the many callbacks to season 1.

Pike’s role made sense because Octavia’s descent into darkness was not just prompted by the trauma of Lincoln’s death at Pike’s hands, but also because it started when she decided to murder Pike for revenge, making herself judge, jury and executioner. That was the first time she committed actual murder, as opposed to killing people in fight. She probably thought at the time, as a big portion of the fandom did, that Pike was a bad guy and had it coming. But one could now say the same thing about Octavia herself, and she is obviously aware of it. If Pike deserved to die, doesn’t she, too? Using the same standards, shouldn’t she be murdered for revenge by someone like James (the Wonkru guy from 6x02, who lost his mother in the gorge and blames Octavia fori t)? In fact, Octavia tried to get him to kill her, because, on some level, she thought she deserved death, too, even while she was pretending that she didn’t feel any guilt and trying to justify all her actions. Why should Bellamy ever forgive her for throwing him into the fighting pit to die? I can see many similarities between Octavia and Pike: both of them are fighters by nature, both were driven by the desire to save and protect people, both were angry and traumatized by what had been done to their people, and both were also prone to black-and-white thinking and harsh judgment of their enemies. As Octavia’s mind version of Pike pointed out, we are products of what we have done, and what has been done to us. Pike is an embodiment of both for Octavia. And Pike himself was a product of what the Ice Nation under Queen Nia had done to him – killing almost all of the people he grew up with, many right in front of him (including 15 children), which made him go into the woods to fight for months. Pike started pre-emptively seeing Grounders as enemies even when they were not, and eventually, as a Chancellor, started acting as a dictator and hunting for traitors in his camp. Octavia started by proclaiming everyone (or almost everyone – Echo didn’t count) her people, One people, but that eventually turned into tyranny and seeing enemies in everyone who disagreed or refused to do everything she asked of them. Pike condemned Lincoln to death and execute him for the same reasons Octavia as Blodreina condemned Bellamy, Indra and Gaia to the fighting pit: to maintain authority and show that rebellion is not allowed and will be punished by death. We may not have seen this put into words, but Octavia’s vision of Blodreina in Pike’s role, condemning/executing Pike the way he had Lincoln, showed her realization about herself. „Pike“ even reminded Octavia that he was trying to earn his redemption by doing good when she killed him. Of course, since Pike was really an enbodiment of a part of Octavia’s own mind, it is really something she has been thinking about and that she’s telling herself. It’s a level of self-reflection that I never expected to see from Octavia of the earlier seasons, and shows how much she’s grown.

So does she deserve redemption? As „Pike“ pointed out, it is not about deserving. You just need to make the decision to go and do good, and not be Blodreina anymore, shown by her symbolic killing of „Blodreina“. She is still to actually start her redemption arc, but getting into the right frame of mind and realizing she wants to change and do better was the necessary first step.

Kane’s goodbye

I’ve already written quite a bit about Abby’s emotional and ethical downfall and the tragic development of the Kabby relationship in seasons 5-6 here and I predicted that the storyline would end with Kane’s death by his own choice (and that Henry Ian Cusick would return to play Kane in a vision for his last scene), even though I didn’t guess when or how it would happen.

Unlike some other fans, I find this to be a very fitting ending for Marcus Kane. I don’t think of what he did as suicide, but as a sacrifice, or, more than anything, a refusal to legitimize and benefit from an evil practice that involves brainwashing people so they could be lambs easily led to slaughter, and then murdering them as lesser and disposable, so you could prolong your own life. He couldn’t fight against it, speak against it, while being in a stolen body himself. (There is a reason why Gabriel is ashamed to admit to his followers that he lives in a host body.) Everything about it was wrong to him, and went against everything he believes in. (Meeting Gavin’s widow and realizing that the Primes are lying to their people also played a role. As Gabriel confirmed in this episode, and as Kane 2.0 and the other Primes, no doubt, are aware, there is no trace of the host mind after the transfer – unless the transfer fails.)

Indra has finally been woken up! But is she staying on the ship now, and if so, when do we see her again? I’m glad she got to say goodbye to her friend before his death. I like the fact that Indra pointed out that both the Arkers and the Grouders had some disturbing practices of their own, but Kane gave the logical answer (something I was hoping someone would point out at any point) – the fact we did bad things in the past, doesn’t mean we should let evil things happen. That’s not how morality (or common sense) works.

The show loves angst, so of course, Kane’s death had to be exactly like Jake Griffin’s death (which we saw in the flashbacks in 1x03), and Abby had to witness it. But, as Raven pointed out, it is better for her if she gets to say goodbye. (Raven would know, since she never got to say goodbye to Finn or Shaw. Or Sinclair.) Kabby has been one of my favorite ships on the show – because it is one of the very few romantic relationships that was well developed, way before Kane and Abby got together. Their chemistry was obvious since season 1. And while Greyston Holt did a great job playing Kane 2.0, it only made sense that Henry Ian Cusick return to play Kane in that last scene, when Kane appeared to Abby the way she saw him in her mind-eye - which also made him feel like real Kane to the audience. The scene was truly beautiful and sad, with Abby’s heartbreak, and Indra and Raven reciting the Ark prayer (with Indra adding the Grounder “Your fight is over”). I don’t think that Kane would really do the same to bring Abby back – or that Abby would have done it if she had been in a healthier state of mind, but I can see why he told Abby that. While he disagreed with her decision and couldn’t accept it, he showed understanding, empathy and love to her, while urging her to let him go and continue her life.

All in all, considering the tricky actor availability situation due to Cusick’s role on another show, I think that the writing staff have found a good way to give Kane a proper sendoff, and make it meaningful and highly relevant to this season’s themes and main plot.

In a way, it’s more Abby’s tragedy than Kane’s – he made the decision that was the only right one, one of the most in-character things he’s ever done, but Abby is still lost and needs to let go off Kane, really recover from addiction, and find her own sense of morality again.

The Kane/Abby storyline and relationship this season is juxtaposed to the Josephine/Gabriel story – and the Clarke/Bellamy story. We have seen bodysnatching as something people (Gabriel, Russell and Simone with Josephine, Abby with Kane) resort to in order to resurrect someone they love. But while Josephine couldn’t be happier about it – because she’s selfish and, let’s say, morally challenged, Kane, with his deep sense of morality, could never accept that. We’ve also seen a storyline about Bellamy doing everything to save Clarke – but while all of those are motivated by love, the big difference between what Bellamy is doing and what Abby has done (and what Gabriel initially did when he resurrected Josephine, at the expense of 40+ of the people he had raised from embryos) is that Bellamy is fighting against an evil act, to right a wrong, as opposed to doing evil or enabling evil.

Bellarkephine

Bellarke has always been the central relationship on the show, but it’s never been as front and center as it is this season. In 6x07, Clarke gave up on living at the moment when Josephine managed to convince her that Bellamy had given up on her and moved on and that he and everyone are better off without her, and the last few been about Bellamy being willing to do everything to get Clarke back. The show is being really obvious about Bellamy’s and Clarke’s feelings for other other, even more so than it was in the previous seasons (and I happen to think it was already quite obvious). It’s not the first time that other characters have called out those two on their feelings for each other (from Lexa noticing in season 2 that Clarke cares for Bellamy and worries about him more than about her other people, to ALIE!Raven in season 3, taunting Bellamy over being more devoted to Clarke than his girlfriend Gina, to Octavia calling out Bellamy in season 5 and calling Clarke another traitor who he loves), but now it is an integral part of the main story, the way it was not before.

I’ll say one thing, though – while it is undeniable, seeing his behavior over the previous few episodes. that Bellamy cares for Clarke more than anyone else at this point, as Josephine points out (and that statement implies that he cares for her more than his girlfriend, Echo), I think one should be fair and acknowledge that Clarke is in danger of certain and definite death, after a definite and short period of time, while the others back in Sanctum are only in danger of potential death, so I don’t think it would be fair if they begrudged Bellamy going off to save Clarke.

This dynamic was weird, because Bellamy was simultaneously not fond of (to put it mildly) of Josephine, but was incredibly tender and caring with her body, because it was Clarke’s body, and Clarke is still in there somewhere. The way he gently wiped JoClarke’s black blood and put his own, so the Children of Gabriel wouldn’t know she was a Nightblood, reminds me of Bellamy cutting himself to fool the Ark guards, so they wouldn’t know the blood belonged to Octavia, when she would accidentally cut herself.

Josephine said that love was the reason why Sanctum would be destroyed – implying not just that her father put everything in danger for his love for her (by putting her in Clarke’s body), but also that Bellamy’s love for Clarke and his determination to save would be the cause of Sanctum’s destruction. It’s the 3rd time that the word “love” has been used on the show to describe Bellamy’s and Clarke’s feelings for each other: the first time was in season 2 when Clarke said she was being weak when she tried to keep Bellamy from going to Mount Weather, because love is weakness; the second time was in season 5, when Octavia called out Bellamy on pleading for the life of a traitor who you love; and this is the third time.

The moment when Bellamy looked at Clarkephine when he knew Clarke could hear him, and paused before saying “I won’t let you die”, was one of those moments where Bellamy or Clarke seem to want to say more, or are saying a lot more, through or instead of a statement like “Hurry” or “Don’t feel bad about leaving me here”. Those two have always had their own way of saying ILY.

Bellamy replying “Tell me about it” when Josephine called the “weird” relationship between him and Clarke “exhausting” has to be one of the best meta moments on the show.

(BTW, I don’t think Bellamy actually wanted to kill Clarke in 1x02 – the first moment he could have let her die, he saved her. But maybe she thought so, or maybe Josephine saw her memories and drew that conclusion. Also, the show Josie is misusing the word “genocide” and should look up the definition.)

But after a while, what was Josephine trying to taunt Bellamy, turned into Josephine being moved by Bellamy’s love for Clarke – not because she’s a compassionate person (she’s not), but because it reminds her of Gabriel’s love she had and lost. We got her explicit confirmation that she has really been in love with him, since they got to the planet (which may have been the first time they met). And while we know, from his reactions in 6x08, that he is still in love with her (but she may not know that), he has still been trying to kill her for the last 70 years – because she is a villain and is largely responsible for maintaining a terrible system of oppression and murder. This is the main difference between Gabriel/Josephine and Bellarke: Clarke is actually not a villain, she is a hero. Josephine is the villain that some of the characters and a part of the fandom imagines Clarke to be, because they are not paying attention to the actual story.

I love the fact that Clarke used the Morse code, for the second time, but now to both mock Josephine with “Boohoo” and try to make Bellamy laugh, while confirming that she was able to hear them both.

It’s really amazing just how Bellarke-heavy this episode was, even though Clarke and Bellamy weren’t able to directly interact most of the time – and haven’t been since 6x04. The one moment when they did get a chance to interact, for some 10 seconds, was when Clarke temporarily took control over her body because Josephine realized she sucked at defending herself and had to let Clarke do it. And it was amazing – the way Eliza changed her expression, voice and demeanor and the way she looked at Bellamy, the way Bellamy immediately knew she was Clarke, the chemistry that was suddenly there again in full force when it was Bellamy and Clarke interacting, rather than Bellamy and Josephine. Clarke is determined to never leave Bellamy again (as we saw in 5x13, when she was not willing to leave him behind even while they were seconds away from missiles hitting), but this time, he was right that literally staying there would have killed her, so she did the smart thing and sneaked him the keys – allowing him to save himself, while he let her go to save herself.

My judgement of the Children of Gabriel after 6x03 still stands: morally ambiguous group, the right goal, but too murder-happy.

Josephine may be a 200+ old narcissistic, evil Prime that I want to die, but her interactions with Clarke are really fun. It was great to see Clarke get the upper hand, at least for a while, and be in control again. And I loved the fact that Clarke rubbed it into Josephine’s face that she had stolen some skills from her – and calling her out on the irony of Josephine complaining about it, while living in Clarke’s stolen body.

I can’t wait to see Josephine and Gabriel reunited, and Octavia and Clarke and Bellamy reunited – but I’m also looking forward to more of the Clarke/Josephine fight for control in the mindspace.

Rating: 10/10

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