Varian, it's a party. Can you even try to have some fun? Maybe you're right.

Transatlantic (2023) 1.03 | The Wilderness

TRANSATLANTIC 1.07 "Fire in the Snow"

TRANSATLANTIC (2023)

first and last appearances

GILLIAN JACOBS and AMIT RAHAV as MARY JAYNE GOLD and THOMAS LOVEGROVE in TRANSATLANTIC (2023)

"It's not going to work in real life. But this is real life. It's not."

Transatlantic 1.07 - Fire In The Snow

Ok, so I want to really go in depth with Mary Jayne's character because while I'm really obsessed with Thomas and Varian's relationship, she's an amazing character and I love her.

So, when Mary Jayne first appears, it's a direct contrast of the previous scene. We got a glimpse of one side of the story- refugees fleeing, but also finding a safe (enough) place- one of the many realities of what it's like to be living through the Holocaust and WWII. Then it cuts to her- well-dressed white woman walking her dog, arriving at a nice restaurant.

Mary Jayne is playing a part: naive, care-free American girl who's here with Daddy's money- the most interesting thing about her. And she plays it well, not just in the scene, but throughout the story. It's not just a facade for strangers to look at, though. She says it herself- she's the bank of the operation. And others throughout the story reinforce that belief.

But she's so much more then that. Even in the first scene with her, the one at the restaurant, we see how much she cares about not just saving the intellectuals, which is what the ERC is about, but helping everyone. Far before Varian even considers illegitimate exit visas, Mary Jayne is already paying for stowaways.

Within the first five minutes, we see how much she's doing. She's stealing bread, she's giving away the clothes off her back, writing contact information, paying off Lionel, distributing food at the hotel. Mary Jayne Gold is a mask- but as the viewers, we get to see how that mask comes off and she's just herself.

And as the story progresses, she only does more for others. Even after her father cuts her off, she's selling everything she owns to keep the committee afloat- which, is pretty sad, not just because if the materialistic value of her items, but because as we see far too often, being "the bank" of the ERC is the only thing she thinks she's good at, the only worth that she brings to everyone.

But we know that's not true, and she proves that so many times without realizing it. When she joins Thomas as a spy for the British, especially, is a real turning point for her character development, I believe. Nothing of what she's doing for the British is involving money, but she's helping. Even later when she screws up with the British POWs shes finding a way to fix it, and while she has help with it, she's a leader.

And I do believe that she gets more comfortable with the fact that she does have value to the operation-which personally, makes it heartbreaking for me to see how everyone reacts to the failed plan to get the POWs to Spain. Because they've all messed up. As Varian said, there's no blueprint for what they're doing. This is especially true for her, when the whole time the expectancy for her is either to go back home to Chicago or be a bystander to whatever's going on. But she's not willing to let herself be the bystander, she has to be in the front lines with the rest of them.

I also love how Albert and Thomas aren't afraid to show her that she has worth. Thomas especially, because while her relationship with Albert is deeper, Thomas isn't her love interest, there's nothing going on, and I personally love seeing healthy platonic relationships between men and women. And yes, Varian and Mary Jayne have a sort of sibling relationship, and they probably have more in common as theyre both American with families (technically speaking) waiting for them to return home, and they've known each other for longer, but her friendship with Thomas is just. It's everything to me. He's the one who recommends her to Margaux- who helps her use her facade, who also shows her that she is doing a good thing for a good cause and her actions are directly helping others- and he sees her for who she is since the beginning. They click immediately, when she speaks of the Villa Air-Bell as an option for the refugees, and he, to Varian's dismay, not only agrees, but says he's comfortable with danger. They have strong best friend vibes I just- !!!!!!!!!! I love them ok.

Anyway yeah MJ is a badass and underappreciated thanx for coming to my TedTalk. I'd probably say more but believe it or not I do go to sleep sometimes.

this is how this scene went right

[id in alt]

I'm going to lose my marbles

Yeah, so Mary Jayne looking like this

by the end of Varian´s speech definitely has nothing to do whatsoever with her understanding what confusion and pain he was talking about after walking in on him and Thomas earlier

and after this clarification early on, thank you Thomas

Transatlantic watch party !!!!

Transatlantic (2023) 1.03 | The Wilderness

Thank you, my friends. This dark journey would be unbearable without you. And Monsuier Fry, for your hospitality and your deep commitment to our cause, thank you for being our North Star. - André Breton

GIF ID: GIFs 1- 10: A series of gifs showing Varian give an emotional speech at the surrealist party while Andre Breton, Thomas, Mary Jayne, and the rest of the guests look on. GIF 11: Thomas and Mary Jayne smile with pride and understanding at the end of Varian's speech while Petit, wearing a paper hat, claps in the background. Caption plain text: Transatlantic 2023. 103 The Wilderness. Indented quote text: Thank you, my friends. This dark journey would be unbearable without you. And Monsuier Fry, for your hospitality and your deep commitment to our cause, thank you for being our North Star. Andre Breton. End plain text.

I'm going to miss you terribly.

TRANSATLANTIC 1.03 "The Wilderness"

GILLIAN JACOBS as MARY JAYNE GOLD TRANSATLANTIC 1.02 | “The Angel of History”

GILLIAN JACOBS as MARY JAYNE GOLD in TRANSATLANTIC (2023-) | period set in 1940 | costume design by JUSTINE SEYMOUR

“While I was doing my research, I was looking for fashion designers of the time, but really where people were getting their inspiration was from the golden age of cinema in Hollywood. Also, Gillian Jacobs had really enjoyed the work of an actress called Irene Dunn, so she was one of my inspirational people to watch and just see how she wore her clothes, then try to emulate it for Mary Jayne. I wanted to introduce her personality as not only cheeky but happy to go to any means to get what she felt was right. She was a moral woman for the greater good, and I really wanted her to shine.”